CONDITIONS  OF  SALE 


,  1.  All  bids  to  be  per  lot.  They  are  executed  free  of  charge  by  the 

Walpole  Galleries  and  the  items  are  bought  at  the  lowest  price  permitted 
by  competitive  bids. 

2.  The  highest  bidder  to  be  the  buyer;  in  case  of  disputed  bids  the 
lot  shall  be  resold,  but  the  Auctioneer  will  use  his  judgment  as  to  the  good 
faith  of  all  claims  and  his  decision  will  be  final.  He  may  also  reject  any 
fractional  or  nominal  bid  calculated  to  delay  or  injuriously  affect  the  sale. 

3.  Buyers  to  give  their  names  and  addresses  and  to  make  such  cash 
payments  on  account  as  may  be  required  in  default  of  which  the  lots  pur¬ 
chased  to  be  immediately  resold. 

4.  Goods  bought  to  be  removed  at  the  close  of  the  sale.  If  not  SO 

removed,  they  will  be  held  at  the  risk  of  the  purchaser  and  these  Galleries 
will  not  be  responsible  if  such  goods  are  lost,  stolen,  damaged  or  destroyed. 
No  deliveries  will  be  made  during  the  sale. 

5.  Terms  Cash.  If  accounts  are  not  paid  at  the  conclusion  of  the 
sale,  or,  in  the  case  of  absent  buyers,  when  bills  are  rendered,  these 
Galleries  reserve  the  right  to  dispose  of  the  goods  without  notice  to  the 
defaulting  buyer  and  all  costs  of  such  re-sale  will  be  charged  to  the  de¬ 
faulter.  This  condition  is  without  prejudice  to  the  rights  of  the  Company 
to  enforce  the  sale  contract  and  collect  the  amount  due  without  such  re  sale 
at  its  own  option. 

6.  This  catalogue  has  been  compiled  by  competent  cataloguers;  the 
various  lots  offered  are  described  with  care  and  accuracy  and  they  will  be 
sold  not  subject  to  return. 

7.  The  Walpole  Galleries,  if  requested,  will  forward  purchases  at  the 
buyer’s  risk  and  expense. 

Material  on  exhibition  three  days  before  the  sale. 

Priced  copies  of  this  catalogue  at  $1.50  each. 

THE  WALPOLE  GALLERIES, 
Edward  Turnbull 
Lenore  Young  Turnbull 
No.  10  East  49th  Street,  New  York. 

This  sale  will  be  conducted  for  the  Walpole  Galleries  by 

MR.  WALTER  S.  SCOTT. 

Telephone,  Murray  Hill  6512.  Catalogues  on  request. 


THE  GETTY  RESEARCH 
INSTITUTE  LIBRARY 


N 


( 


r.V 


On  View  from  Nov.  25 


No.  133 


Sale  Dec. 


7- 


1919 


Japanese  Prints 


Books,  Rugs,.  Brocades  and 

Screens 


/ 


^  H 

j 


-ij-i 


The  Property  of 
Mr.  Tokumatsu  Ito 
of  Chicago 


Kuniyoshi’s  “Wave  Print”  from  the  “lOO  Poems;”  a  superb  ^ 
impression  of  the  Urami  Falls  from  the  “lOO  Provinces”  of 
Hiroshige;  Wave  at  Shichiri  Beach  and  Figures  by  Hiroshige, 
Kiyonaga,  Utamaro,  and  the  earlier  men;  Kwacho,  Set  of  Bat¬ 
tles  of  Animals  and  Birds,  a  painting  of  the  Tosa  School,  etc. 

Rich  Brocades  in  cloth  of  gold  and  fine  harmonies  of  color. 

Hiroshige’s  Memorial  Catalogue ;  hfii^shige  and  his  Con¬ 
temporaries  with  a  translation  of  the  vital  part;  Kuniyoshl’s 
book  “Life  in  the  Yoshiwara,”  complete  set  of  Hiroshige’s 
“Famous  Places  of  Yedo,”  etc. 

Small  Gold  Screens  of  the  i8th  Century  handed  down  for 
celebration  of  the  Dolls’  Festival,  and  a  large  Gold  Screen  of 
a  Shogun  Family. 


To  be  sold  by  Auction 
Monday  Afternoon  and  Evening 
December  /,  igig 

at  3:00  and  8:15  o’clock 

On  view  from  November  25th,  9:30  to  5:30  o’«*lock 


rUE  WALPOLE  GALLERIES 

No.  10  East  49th  Street  New  York 


Tei.epiione.  Mx^nnAY  Hiei.  0512 


folate  I 


LIS  l'  OK  ILIA  S'KRA'T'IONS 


No. 

35 


Hiroshige,  I  rami  Falls 

Plate  2 

Hiroshige,  Hamamatsu  .  9 

Kuniyoshi,  Wave  from  “Hundred  Poems”  .  60 

Hiroshige,  Shichiri  I^each  .  92 

Plate  3 

^  Dolls’  Festivrd  Cfold  Screen  .  119 

Plate  4 

Hokusai:  “Hundred  Poems”  Series  .  169 

Hiroshige:  Yodogawa  Ferry  .  273 

Hiroshige:  Mountains  Interlocked  with  Seas .  389 

Id  ate  5 

Hiroshige:  Kiso  Snow  Gorge  .  76 

Kikei :  Actor  as  Wrestler  (Fan)  . .  42 

Ito  Shinsiiiga:  Floating  A'emple,  Katada .  456 

Hiroshige:  Akasaka  Snow  Lantern  . 510 

do  Snow  at  Rikiini  Rashi  .  51 1 

do  Gulls  at  Shiha  LAa  .  537 


'date  6 

H iroshige 
do 
do 
do 

Plate  7 


Hiroshige.  Diptych,  Sumidagawa  Ferry  . .  14 

do  Pasket  Bridge  .  75 

do  Akasaka  Kiri  Tree  .  508 

do  Rain  at  Akasaka  .  509 

do  AFaples  at  Mama  .  522 

Plate  8 

Hiroshige:  Kameido  AYmple  Snow .  295 

do  Masaki  after  Snow  .  298 

Yeisen:  Yetai  Bridge  .  . .  364 

Idiroshige:  Ishiyakushi  Snow  .  37^ 


:  Flill  Series  .  156 

F'ujisawa,  AYkaido  Series  .  243 

Koto  Shokei  .  341 

Tsnehiyama  Rain  .  380 


Japanese  Color  Prints 

Books,  Rugs,  Brocades  and  Screens 


The  Property  of  Mr.  Tokumatsu  Ito  of  Chicago 

FIRST  SESSION 
LOTS  1-277 

SIX  PRINTS  FROM  “YEDO  MEISHO  ZUYE.” 

By  Hiroshige  I  and  II. 

1.  YEDO  MEISHO  ZUYE.  Ferry  Boat  at  Yoroi.  I'he  Passengers 

standing  about  to  land  holding  yellow  and  red  umbrellas  in  view 
of  the  coming  storm.  Signed,  margins.  Publisher:  Fujikei. 

2.  YEDO  MEISHO  ZUYE.  Matsuchiyama,  with  boats  in  the  ripe 

rye.  By  Hiroshige  11.  Signed,  margins.  Publisher:  Fujikei. 

'  3*  YEDO  MEISHO  ZUYE.  Boats  at  Fsukudajima.  By  Hiroshige 

H.  Signed,  margins.  Publisher:  Fujikei. 

4.  MOONLIGHT  AT  YEMONZAKA.  From  the  Yedo  Meisho 

Zuye,  a  yellow  and  grey-green  print.  By  Hiroshige  H.  Signed. 

5.  YETAI  BRIDGE  from  the  Yedo  Meisho  Zuye.  By  Hiroshige  H. 

Signed,  margins.  Publisher:  Fujikei. 

Very  fine  condition  and  coloring. 

6.  SUK.IYA  BASHI  GAFE  IN  A  HEAVY  SNOW.  From  the  Toto 

Meisho  Zuye.  Fine  impression  with  margins.  Published  by 
Marutsu.  Signed. 

SIX  PRINTS  FROM  HIROSHIGE’S. 

Upright  Tokaido  Series. 

^  7-  1  HE  PINE  OF  FUJISAWA.  No.  7  the  I  okaido  series. 

Signed,  margins.  Publisher:  Tsutaya. 

8.  BlOYLf ;  the  green  and  grey  of  Spring  with  the  weeping  willows  on 

the  bank  of  the  River.  No.  36.  Signed.  Publisher:  Tsutaya. 

9.  HAMAMATSU.  No.  30  of  the  Tokaido  series.  Signed. 

An  unusually  fine  example,  often  seen  in  poor  and  worn  im¬ 
pressions;  here  the  rich  green  of  the  Pines  is  well  planted 
against  the  rough  incoming  waves. 

(See  Illustration.) 


3 


/ 


.  -t 

/ 

I 

\ 


SIX  PRINTS  FROM  HIROSHIGE’S—Continued 
lO.  MAIZAKA.  Sail  boats  nearing  the  beautiful  aubergine,  grey  and 
green  promontory.  No.  31  of  the  series.  Signed,  margins.  Pub¬ 
lisher:  Tsutaya. 

IF.  OKAZAKI  YAHAGI  BRIDGE.  Man  washing  off  a  horse  near 
the  shore.  No.  39  of  the  series.  Signed,  margins.  Publisher: 
Tsutaya. 

12.  SAKANOSHITA.  The  fine  “Throwing  Away  the  Brush  in  De¬ 

spair”  peak  at  closer  range  with  waterfall.  No.  49.  Signed,  mar¬ 
gins.  Publisher :  Tsutaya. 

HIROSHIGE  1. 

Triptychs,  Diptychs  and  Broadsheets,  including  some  very  early  work. 

13.  TRIPTYCH  SOSHII  SHICHIRI  GA  HAMA.  Visitors  at  Shi- 

chiri  Beach.  Signed.  Seal  date  Kaj^ei  first,  Monkey  Year,  1848. 
Engraver:  Horicho.  Publisher:  Fujikei. 

An  example  having  all  the  “Collector’s  points”  as  one  of  the 
foundation  stones  of  a  collection,  from  the  picturesque  lady  on 
the  Black  Bull  to  the  left,  to  the  boys  diving  for  coins  in  the 
surf. 

14.  DIPTYCH.  Sumidagawa  Ferry  Boats  and  Ladies.  Signed.  Pub¬ 

lisher:  Yamadaya. 

A  very  rare  diptych.  • 

15.  LADY  WITH  A  TOY  DUCK.  Chuban  form,  signed. 

Scarce  example  of  a  Hiroshige  figure  print. 

16.  OISO  NO  OTORA  OF  SOGOMONOGATARI.  She  is  stand¬ 

ing  thinking  on  the  ujjper  balcony,  rising  full  moon  over  the  water 
to  left.  Signed.  Sq.  form. 

17.  TWO  BOYS  RAKING  PINE  NEEDLES.  Chuban  or  square 

form.  Signed. 

VERY  RARE  AND  EARLY  WORK,  1816  or  1817,  the  signa¬ 
ture  showing  Hiroshige  to  have  been  only  about  20  years  of  age. 

iS.  SPRING  AT  GOTENYAMA.  One  of  the  “Four  Seasons,  Yedo 
Meisho”  and  one  of  Hiroshige’s  most  charming  compositions. 
Panel  print,.  Signed. 

19.  YENOSHIMA  ROCK  HOUSE.  Narrow  panel,  signed. 

2<i.  EARLY  WORK  OF  HIROSHIGE  1.  Katada  no  Rakugan.  Scroll 
shaped  with  a  flight  of  wild  geese  and  sparrows.  Signed,  mar¬ 
gins.  Publisher:  Izumi  Ichi. 

Very  rare  and  very  early  work  from  his  first  “Omi  Hakkei” 
or  “8  Views  of  Lake  Biwa.” 

21.  HIRA  NO  BOSETSU.  d'he  snow  print  from  the  rare  early  “Lake 
Biwa”  set  as  the  preceding.  Signed,  margins.  Publisher: 


4 


PLATE  1 

No.  35.  Hiroshig-e:  Urami  Falls. 


Digitized  by  the  Internet  Archive 
in  2020  with  funding  from 
Getty  Research  Institute 


https://archive.org/details/japanesecolorpri00walp_18 


23- 


24. 


25- 


HIROSHIGE  I — Continued 

22.  ISHIYAMA  NO  AKl  NO  TSUKI.  Full  Moon.  Scroll  print 
from  the  early  “Lake  Biwa”  set.  Signed,  margins.  Publisher; 

Mil  NO  BANSHU.  Cherry  Blossoms  in  the  Hills  from  the  early 
“Lake  Biwa”  series.  Signed,  margins.  Publisher: 

YABASbll  NO  KIBAN.  Sail  Boats  on  Lake  Biwa,  a  lovely  little 
scroll  print  from  this  rare  early  “Lake  Biwa”  series.  Signed,  mar¬ 
gins.  Publisher: 

HIROSHIGE  II. 

OCHIAI  BRIDGE,  Mino  Province.  Chuban  form,  from  the  up¬ 
right  “68  Views.”  Signed,  margins.  Publisher* 

SIXTEEN  PRINTS  FROM  HIROSHIGE’S  “SIXTY  PROVINCES." 

The  Upright  series,  containing  one  of  the  finest  impressions 
twer  offered  in  a  Hiroshige  landscape,  the  Waterfall  at  Shimo 
zuke  (See  No.  35.) 

AWA,  KOMINAl  O  BAY.  An  almost  landlocked  Bay  with  hills 
o  green  and  aubergine  running  down  to  the  water’s  edge  sur¬ 
rounding  the  little  yellow  village.  Signed. 

AKL  ITSUKU  SHIMA  FESTIVAL.  Twilight  scene  with  the 
boats  lighting  up  approaching  the  great  grey  Torii.  Signed. 

RAINING  HARD  AT  HOKI;  the  distant  round  Oyarna  Moun- 
tain  veiled  in  mist.  Signed  three  margins. 

BIZEN  TANOKUCHI  BEACH.  The  great  picturesque  grey 
stone  Torn  at  high  tide  at  Uka  Yama.  Signed. 

IZUMI,  KCJSHI  BEACH.  An  extensive  water  view  with  gentle 
waves  swelling  on  the  shore.  Signed. 

ISHIMI.  Making  Salt  at  Kozukan.  The  incoming  tide  rising 
round  the  Salt  Huts  and  a  great  green  hill  to  the  left  Signed 
margins. 

A  much  liked  water  print. 

HIDACHI  AND  KAJIMA  J'EMPLE.  Very  finely  printed 
bigned,  margins. 

KAI  MONKEY  BRIDGE.  A  swift  whirling  stream  is  seen  at 
the  foot  ot  yellow  cliffs  by  the  travellers  viewing  Maples  in 
autumn.  Signed. 

Fine  impression  with  margins. 

KOZUKE.  Snow  at  Makino  Yama.  Signed,  small  margins. 

t  inely  g*raded  shadowy  white,  snow-covered  hills  and  pine 

WAl  ERFALL  AT  SHIMOZUKE.  Nikko,  Urami  no  Waterfall. 

1  ublisher :  Yechi  Hedi.  Engraver:  Horitake. 

collector’s  condition  with  margins  and 
the  flood  of  falling  water  in  gauffrage  printing,  with  little  blue 
streams  dripping  down  into  the  chasm.  Characterized  by  the 
owner  as  THE  FINEST  BIPRESSION  HE  HAD  EVER  SEEN. 
(See  Illustration.) 


26. 


27- 


28. 


29. 


30. 


31. 


32. 


33- 


34- 


3  5 


2/3 


6  PRINTS  FROM  HIROSHIGE’S  “SIXTY  PROVINCES.’’— Continued 

36.  IZU.  Hot  Springs  at  Shuzenji ;  mountain  stream  and  picturesque 

waterfalls.  Signed. 

37.  SAGAMI.  The  Rock  House  at  Yenoshirna;  fine  blues  in  this  print 

and  a  sky  of  modulated  color.  Signed. 

38.  MAGATO.  Shimono  Seki.  A  small  boat  on  the  swell  left  by  the 

great  junk  which  is  disappearing  to  the  left.  Signed. 

39.  FISHING  AT  TOSA  IN  THE  ROUGH  SURF.  Fine  color¬ 

ing.  Signed. 

40.  PROMONTORY  AT  TOTOMI.  Water  view  with  a  little  red 

village  to  left.  Signed,  three  margins.  Publisher:  yechihei. 

HIROKAGE. 

41.  YEDO  MEISHO  DOGE  ZUKUSHI.  No.  6  of  this  humorous 

series.  Signed,  margins.  Publisher:  T[  sujiokaya. 

TAKAHASHI  KIKEI. 

Date  about  1778. 

42.  FUIIKAWA  HACHIZO  AS  A  WRESTLER. 

Fine  example  of  color  printing;  Fan  shape  on  a  grey  ground. 
Signed. 

(See  Illustration.) 

43.  ARASHI  TOJURO  as  a  letter  carrier.  Fan  print  of  fine  registra¬ 

tion  and  coloring.  Signed. 

44.  MIHOGl  GIYEMON  ENTERING  AN  INN.  Fine  fan  print, 

signed. 

45.  NAKAYAMA  KURUSUKE  in  a  pink  robe  drawing  his  sword. 

Fine  clear  fan  print.  Signed. 

46.  MIMASU  YOSOHACHI  AS  A  DAIMIO.  Fine  clear  cherry 

color,  black  and  brown  in  this  fan  print.  Signed. 

47.  KASAYA  MATAKURO  AS  A  WRESTLER.  Fan  print  in  cleat- 

coloring  and  fine  condition.  Signed. 

TORII  KIYOHIRO,  1750  1758. 

48.  DAIMIO  WITH  BASKET  HAT.  Very  fine  early  two  color 

print,  showing  Sanokawa  Ichimatsu  as  a  Komuso  at  the  door  of 
Oiso  Ya.  Signed. 

KIYOMITSU,  1735-1785. 

49.  ICHIKAWA  DANZO  AS  TAIRANO  TOMOMORL  Raising 

a  heavy  black  anchor  in  his  wrath.  Signed.  Early  three-color 
example. 


I 


KIYOMITSU,  1735-1785 — Continued 

50.  ICHIKAWA  RAIZO  AS  KAMAYUI  KENSHICHI.  Holding 

a  Dressing  Box.  Publisher:  Okumura.  Signed. 

EARLY  TWO  COLOR  PRINT,  very  desirable  when  signed 
by  both  artist  and  printer. 

TORII  KIYOTSUNE  1750  1770. 

51.  THE  LOVERS  YAYOI  AND  GENTA.  Under  a  Cherry  Tree. 

Signed.  Publisher:  Yamashiroya.  Early  and  rich  coloring. 
Very  desirable  when  signed  by  both  printer  and  artist. 

KIYONAGA  1752  1815. 

52.  OBAN.  FROM  THE  HAYASHI  COLLECTION.  The  Cour¬ 

tesan  Ogij^a  uchi  Toji  in  her  New  Year’s  Robe,  with  her  Four 
Handmaidens.  Signed.  Publisher:  Yeijudo.  Mounted. 

An  exquisite  harmony  of  soft  pink  and  sand  color,  offset  with 
the  dull  green  of  the  bamboo  pattern  of  the  robe  and  the 
black  in  their  obis.  WITH  THE  HAYASHI  SEAL. 

KORIUSAI  1760  1780. 

.53.  CHUBAN  OR  SQUARE  FORM.  One  of  the  set  of  Goninbay- 
ashi,  or  “Boy  Orchestra.’’  Signed. 

Unusually  well  printed  impression  of  one  of  this  pretty  set 
of  five  prints,  showing  a  fine  black  and  unfaded  orange  of  the 
drum  and  screen. 

54-  OBISHIYA  UCHI  MITSUHANA  WALKING  IN  THE 
RAIN.  A  boy  holds  a  pink  umbrella  trying  to  shelter  her  and 
her  New  Year’s  Robe  and  rich  black  obi  from  the  shower.  Her 
two  little  Kamuro  are  under  another  umbrella.  Oban,  signed. 
Publisher:  Yeijudo.  Mounted. 

KUNICHIKA. 

YS.  FERRYBOAT  AT  YABASHl.  MISTY  MORNING.  One  of 
the  Tokaido  Series.  Signed,  margins.  Published  by  Kagisho. 

The  River  mist  finely  rendered.  Collectors  should  not  over¬ 
look  the  occasion  to  secure  good  impressions  of  these  artists 
when  offered.  Their  artistic  value  is  great  and  they  are  becom¬ 
ing  scarce. 

GOTOTEI  KUNISADA. 

56.  MAID  IN  A  BLACK  GAUZE  GOWN  with  blue  overdress. 
Signed. 

37.  GIRL  IN  GAUZE  SHELTERING  FROM  A  SUMMER 

STORM.  One  of  the  Genji  Menogatari  Yugiri.  Signed. 

38.  WOMAN  AFTER  THE  BA'FH.  In  a  loose  blue  robe  wiping  her 
foot.  Signed.  Publisher:  Iwatoya. 

KUNIYASU. 

YOUNG  GIRL  WFEH  A  GREEN  INSECT  CAGE.  Signed. 


59- 


KUNIYOSHI  17981861. 

60.  KUNIYOSHI’S  GREAT  CURLING  WAVE  PRINT  from  the 

“Hundred  Poems,”  or  Minamoto  no  Shigeuki. 

Showing  Kuniyoshi’s  mastery  of  color  in  the  superb  blue- 
green  and  black  of  the  beating  white  capped  spray;  Mt.  Fuji 
in  the  distance  raises  a  white  crest  from  a  storm  cloud  at  the 
base.  Signed,  margins.  EXCESSIVELY  RARE. 

(See  Illustration.) 

• 

61.  RIOZEN  HOSHI:  One  of  the  “Hundred  Poems.”  A  very  fine 

landscape.  Two  men  in  the  foreground  whose  black  and  sub-  \ 
dued  green  robes  melt  into  the  color  harmony  of  the  print  point 
to  graded  blue  waters  and  hills  of  peacock  green  tint ;  a  little  yel¬ 
low  thatched  village  shows  like  a  spot  of  sunlight  in  the  distance. 
Signed,  margins. 

KITAO  SHIGEMASA  1739-1819. 

62.  RARE  BROADSHEET.  “24  Well  Known  Warriors.”  Signed, 

original  condition  and  coloring  with  the  publisher  Yeizudo. 

SHUNSHO  1726-1792. 

63.  MAN  STANDING  NEAR  THE  ENGAWA.  A  very  fine  and 

well  printed  example.  Signed. 

SHUNYEI  1767-1819. 

V 

64.  A  LADY  OF  RANK,  with  long  hair  and  flowing  robe.  Signed. 

TOYOHIRO. 

Teacher  of  Hiroshige  1. 

65.  SUNRISE  AT  FUTAMI  GA  IRA.  The  Famous  “Two  Rocks 

of  Ise,”  with  Fuji  bathed  in  the  red  of  the  onrushing  sun.  Panel 
print,  signed. 

PRINTS  FROM  THE  “100  PROVINCES.” 

By  Hiroshige. 

66.  MOONLIGHT  AT  AMANO  ,HASHIDATE  Province  of 

Tongo.  A  grey  tree-covered  peninsular  extended  towards  auber¬ 
gine  and  grey  mountains,  with  a  flight  of  distant  birds  across  the 
moon  shining  on  water  of  graded  blue.  Signed,  margins,  pub¬ 
lisher. 

67.  ASAMA  VOLCANO.  A  print  in  the  fine  original  coloring.  Signed, 

margins,  publisher. 

68.  AOYAMA  FESTIVAL  MOON,  Province  of  Toto.  Signed,  mar¬ 

gins,  publisher. 

69.  BISHU  BY  MOONLIGHT.  With  the  great  Gold  Fish  carving 

in  yellow  on  the  black  roof  of  the  Palace.  Signed,  margins,  pub¬ 
lisher. 

A  print  of  wonderful  color. 

70.  CPHCHIBU  YAMA  FALLS,  Mu  sashi  Province.  Signed,  margins, 

publisher. 


8 


No.  60.  Kuniyoshi  ^  tt-  i  • 

Wave  from  “Hundred  Hiroshige  No,  92.  Hiroshige 

Poems”  Hamamatsu.  Shichiri  Beach. 


PLATE  3 

No.  119.  Dolls’  Festival  Gold  Screen. 


PRINTS  FROM  THB:  ‘Too  PROVINCES”— Continued 

71.  FUNABASHI  DAIJINGU,  showing  the  Torii  in  green  Shimo  Osa. 

Signed,  margins,  publisher. 

72.  BROCADE  BRIDGE.  Iwakuni  Kintai  Bashi,  or  Snow  in  the 

Province  of  Suto.  Fine  impression.  Signed,  margins,  publisher. 


/73. 


74- 


/75. 

^76. 


77- 

78. 

79- 

80. 

81. 

82. 

83- 

84. 

85. 

86. 


MONKEY  GORGE  AT  IKAO  and  Waterfall,  Jio  Shu  Province. 
Signed,  margins,  publisher. 

GOGEN  SHRINE  AT  IZU.  Lovely  coloring  and  fine  condition. 
Signed,  margins,  publisher. 

KAGO  WATASHI,  Hida  Province.  Basket  bridge  over  the  cliffs. 

Signed,  margins,  publisher. 

Rare.  Fine  impression. 

(See  Illustration.) 

SNOW  IN  KISO  MOUNTAINS.  One  of  the  finest  of  Hiro¬ 
shige’s  upright  snow  prints  with  the  graded  blue  and  grey  shadows, 
and  the  stars  reflected  in  the  narrow  stream.  Signed,  margins, 
publisher. 

(See  Illustration.) 

KANAZAWA  DAIJIO  TEMPLE,  Province  of  Koshiu.  A  fam¬ 
ous  mist  print  by  Hiroshige  and  a  very  fine  impression.  Signed, 
margins,  publisher. 

KAITO  YAMA  cliffs,  with  Budding  plums.  Province  of  Iga. 
Signed,  margins,  publisher. 

KASAMORI  MOUNTAIN  TEMPLE,  Province  of  Kazusa. 
Signed,  margins,  publisher. 

MAIKO  BEACH  PROVINCE  OF  BANSHU.  Three  ragged  old 
pines  on  the  shore ;  low  tide.  Signed,  margins,  publisher. 

MIYOKEN  FESTIVAL  DAY  AT  SOMA,  Oshiu  Province. 
Catching  wild  horses.  Signed,  margins,  publisher. 

BEACH  AT  MATSUCHIMA,  the  place  of  many  Island  in  Otsu 
Province.  A  fine  Water  View.  Signed,  margins,  publrsher. 

MIYAGAWA  FERRY  BOATS,  Province  of  Ise.  Signed,  mar¬ 
gins,  publisher. 

MASHIRI  PEAK,  PROVINCE  OF  OMI.  Steep  grey  path  on 
the  green  hill,  with  water  view  to  left.  Signed,  margins,  pub¬ 
lisher.  i 

MUROTSU  SNOW,  Province  of  Banshu.  Fine  clear  printing  ot 

this  famous  Snow  landscape.  Signed. 

NARUTA  TEMPLE  AND  INNS  AT  SHIMO  OSA.  Signed, 
margins,  publisher. 


I’RIN  rs  FROM  THE  “100  PROVINCES'—Continued 

87.  NOKOGIRI  YAMA,  Province  of  Boshiu.  Signed,  margins,  pub¬ 

lisher. 

Noted  for  the  great  rocks  As  “Buddha”  and  an  “Eagle.” 

88.  OCHAII  BRIDGE  AT  MINO.  By  the  second  Hiroshige.  Green 

rain  print.  Signed,  margins,  publisher. 

89.  SUWA  LAKE,  SHINSHU  PROVINCE.  Snow  print,  with  bon¬ 

fire  at  right  and  in  the  distance  men  fishing  through  holes  in  the 
ice.  Signed. 

90.  WATERFALL.  Signed  Nidai  (second)  Hiroshige.  Seshu  Nuno- 

^  biki  Falls.  Signed,  margains.  Publisher:  LJo3^ei. 

Very  fine  original  impression  and  coloring. 

91.  CHERRY  BLOSSOMS  AT  YOSHIMA  YAMA,  Province  of 

Yamato.  Drjdng  Large  Fish  at  Wakasa.  Signed,  margins,  pub¬ 
lisher.  (2  pieces). 

92.  SHICHIRI  BEACH  SOSHU  PROVINCE.  One  of  the  famous 

curling  wave  prints  of  Hiroshige,  in  which  the  mounting  waves 
take  on  the  form  of  distant  white  Fuji  seen  beyond  the  spray. 
Signed,  margins,  publisher. 

A  famous  print. 

(See  Illustration.)  * 

9J.  SOTO  BEACH  AND  CLIFF,  Province  of  Oshu,  fine  coloring. 
Signed,  margins,  publisher. 

94-  I  AKIBI  YASHIRO,  Province  of  Iki,  an  enormous  boat  with  the 

pio\A  as  a  Lotus  Seed  Pod  comes  in  to  right,  with  men  throwing 
flares  to  steer  clear  of  the  rocks ;  another  large  boat  beyond  with 
furling  sails.  Signed,  margins,  publisher. 

95-  TOKAGE  YAMA  AND  KUTORIU  TEMPLE  high  up  in  the 

mountains  in  Shinshu  Province.  Signed,  margins,  publisher. 

96.  1  ENJIN  FF.STIV  AL  NIGHl',  Naniwa  Bridge,  Seshu  Province. 

Boats  and  bridge  are  gaily  decorated.  Signed,  margins,  publisher. 

97-  PROCESSION  ON  EOKAIDO  ROAD,  the  scene  dominated  by 
a  Giant  Fuji,  with  blue  and  pink  fog  curling  round  the  base. 
Signed,  margins,  publisher. 

98.  TEMPO  YAMA,  Province  of  Osaka.  Finely  printed  and  scarce. 

Signed,  margins,  publisher. 

One  of  the  best  examples  in  the  collection. 

99.  I  AKANAWA  BEACH,  Toto  Province,  with  the  people  gazing  at 

arriving  visitors  from  Holland.  Ver\"  fine  cop\',  signed,  margins, 
publisher. 


10 


PRIN  rs  FROM  THE  “100  PROVINCES”~Contiiiued 

lOO.  TSUKUBA  YAMA,  HIDA  PROVINCE.  The  Inn  In  the  moun¬ 
tains  with  pink  and  yellow  fog.  Netting  Wild  Geese  at  Saka 
Ami.  Signed,  margins,  publisher.  (2  pcs.) 

joi.  FESTIVAL  DAY  AT  TSUSHIMA.  With  the  Festival  Boat  in 
the  lead,  Owari  Province.  Signed,  margins,  publisher. 

First  issue,  very  fine  in  color. 

102.  YOKOHAMA  NOGE,  Province  of  Musashi.  One  of  the  best 

landscapes  in  this  series. 

KAKEMONO  PAINTINGS. 

103.  KAIGETSUDO  MINAMOTO  NO  TSUNEMASA.  A  Cour¬ 

tesan  in  the  costume  of  the  Genroku  period.  Original  painting 
with  seal,  date  unknown.  18I/2X37  Inches,  unmounted. 

The  style  of  the  dressing  of  the  hair,  the  brush  work  and 
the  way  the  old  coloring  is  laid  on  all  point  to  very  early  work. 

104.  CHINESE  PAINTING  BY  SUN  MAN  FO.  White  Chrysan¬ 

themums  and  rocks.  13x35  inches.  Date  of  artist  1601.  Signed. 

105.  KOIKAWA  JU  SAN  PIN  HARUMACHI  GA.  Original  painting, 

A  Courtesan  Standing  in  a  sweeping  gown  of  Passion  Flower  de¬ 
sign ;  her  hair  dressed  in  the  old  style.  Signed,  no  date.  21x46 
inches. 

106.  MASAYOSHI  (KITAO).  Original  painting,  woman  standing. 

Painting  in  monochrome  with  simple  brush  strokes.  Date  1818. 
Signed.  11x38  Inches. 

PAINTING  BY  ROSETTSU. 

107.  TWO  PUPPIES  UNDER  A  FLOWERING  SHRUB.  Waning 

moon.  Kakemono  painting,  signed.  On  silk. 

JAPANESE  PAINTING  BY  CHOSUN. 

108.  PICNIC  IN  CHERRY  BLOSSOM  TIME.  A  boat  loaded  with 

merrj^makers  arrives  at  the  landing  under  the  Cherry  Tree  where 
others  are  picking  flowers  and  enjoying  the  Spring  Day.  Fine 
coloring  and  use  of  gold  and  silver  to  heighten  the  effect  of  the 
gay  partv'  dresses.  Painting  on  silk,  signed. 

“THE  BATTLE  OF  THE  ANIMALS  AND  BIRDS.” 

Set  of  ten  miniature  paintings,  Tosa  period.  In  remarkably 
fine  condition.  Colors  almost  as  when  put  on,  and  worn  only 
here  and  there.  As  these  paintings  are  unsigned  their  exact 
date  cannot  be  fixed,  but  it  lies  somewhere  about  1660.  The 
exquisite  work  on  the  patterns  of  the  robes  and  armor  needs  a 
magnifying  glass  to  see  perfectly,  and  the  figures  are  full  of 
spirit.  Their  human  expressions  of  countenance  and  action  are 
amusing  to  a  degree.  Size  10  by  13  inches. 

EARLY  JAPANESE  MINIATURES  ARE  EXCEEDINGLY 
RARE  AND  THIS  SET  IS  ONE  ANY  MUSEUM  MIGHT  BE 
PROUD  TO  OWN. 

Sold  with  the  privilege  of  one  or  more  at  the  same  price. 

11 


JAPANESE  PAINTING  BY  CHOSUN- Continued 

lOQ.  THE  QUARRPTv  BEGINS  between  the  Birds  and  Animals. 

]  lo.  THE  BIRDS  TALK  THINGS  OVER. 

111.  BIRD  SHOGUN  RECEIVES  A  MESSENGER  and  attendants 

serve  tea. 

112.  ANIMALS  RECEIVE  A  CHALLENGE  FROM  THE  BIRDS. 

1 13.  ANIMALS  DISCUSS  MATTERS  WITH  THEIR  SHOGUN. 

1 14.  BIRD  WARRIORS  PREPARED  FOR  BATTLE. 

1 1 5.  ANIMAL  WARRIORS  PREPARED  FOR  BATTLE. 

1 16.  ANIMALS  RUSH  FORTH  TO  BATTLE. 

117.  BATTLE  BETWEEN  THE  ANIMALS  AND  BIRDS. 

118.  TRIUMPHAL  RETURN  of  the  Animals  with  the  spoils  of  War. 

SCREENS  FOR  DOLLS’  FESTIVAL. 

iig.  SMALL  GOLD  SCREEN  OR  HINABYOBU.  Signed.  8  panels 
in  gold  of  good  quality,  painted  with  pink  Peonies  and  a  pair  of 
Peacocks  on  the  rocks.  Height  lO^/^  inches. 

Used  on  the  Girls’  “Doll  Ceremony  Day,”  the  third  day  of 
the  third  month  of  the  year,  looked  after  carefully  and  handed 
down  with  the  dolls  from  generation  to  generation. 

(See  Illustration.) 

120.  PAIR  OF  HINABYOBU  (SMALL  SCREENS).  Screens  used 

by  little  girls  on  Doll  Ceremony  Day.  6  panel  screen  in  plain 
gold,  bordered  with  gold  brocade  and  with  bronze  mounts.  Height 
1 3 1/2  inches. 

Very  rare  in  pairs. 

121.  OLD  SMALL  GOLD  SCREEN.  A  blue-eyed  white  kitten  sitting 

under  Blooming  Peach  and  Bamboo  watching  the  birds  fly  down  to 
the  stream.  6  panels,  each  12x12  inches. 

Date  about  1800. 

122.  OLD  HINABYOBU  OR  DOLL'S  CEREMONY  GOLD 

SCREEN.  A  group  of  Water  Birds  at  a  stream  near  Pine  Tree 
in  a  gold  field.  6-panel  small  screen.  Heighth  15I/2  inches. 

A  fine  early  late  Eighteenth  Century  example  of  these  small 
gold  screens. 

123.  OLD  SMALL  EIGHT  PANEL  GOLD  SCREEN.  Showing  the 

Shishi  disporting  among  the  rocks  near  which  grow  Peonies 
and  an  old  Pine  Tree.  Fleighth  15^/2  inches. 

Very  fine  example,  date  about  1800. 

124.  HINABYOBU  OR  DOLL  CEREMONY  SCREEN.  A  winding 

stream,  through  a  field  of  gold,  with  pink  peonies  and  other  sum¬ 
mer  flowers  on  a  small  six-panel  screen.  Very  soft  effect.  Height 
12  inches. 


SCKKENS  FOR  DOLLS*  FESTIVAL— Continued 

125.  SMALL  GOLD  TEA  OR  TABLE  SCREEN.  6  panels,  adorned 

with  the  Symbols  of  Good  Luck  and  Long  Life,  Storks  under  the 
Pine,  Plum  and  Bamboo  on  an  old  gold  ground.  Height  to 
inches. 

126.  SMALL  GOLD  TABLE  OR  TEA  SCREEN.  8  panels.  Birds 

in  a  meadow  under  a  blossoming  Cherry  Tree,  with  Purple  Iris 
growing  in  the  stream  that  runs  past.  Height  lO  inches,  bronze 
mounts. 

A  vei’y  charming  example  of  these  Screens  used  by  girls  on 
the  Doll’s  Ceremony  Day.  Date  about  1850. 

JAPANtlSE  BOOKS. 

127.  BAIREI  (KONO).  “Bairai  Gakan.”  Complete  set,  dated  Meiji 

36,  1903.  Containing  the  105  fine  Bird  and  Flower  plates,  etc., 
in  color,  for  which  this  artist  is  noted.  7  vols.  8vo. 

128.  COSTUME  SHO  UN.  Designs  for  Kimonos.  Printed  in 

color  and  lacquered  black,  touched  with  silver  and  bronze.  Folio. 

The  large  size  of  the  book  allows  the  dainty  patterns  to  be 
shown  to  the  best  advantage. 

128.  COSTUME.  SHO  UN.  Designs  for  Kimonos.  Printed  in 
The  Robes  of  the  Emperor’s  Family,  the  illustrations  printed  in 
colors  and  silver.  Date  Bunka  13,  1816. 

Even  the  Details  of  Swords,  Fans  and  Sashes  are  considered. 
Good  condition  and  very  scarce. 

/30.  CREST  DESIGNS.  4  vols.,  various  sizes,  date  about  1820  to  30. 
Very  fine  for  the  designer.  (4). 

131.  HIROSHIGE  I.  Catalogue  of  the  Memorial  Exhibition  of  Hiro¬ 

shige’s  Work  on  the  60th  Anniversary  of  his  Death.  87  pages  of 
prints  from  noted  Japanese  collections.  Tall  8vo.  Toyko,  S. 
^Vatanabe,  1918. 

INVALUABLE  FOR  REFERENCE,  giving  correct  Japanese 
Spelling,  English  titles,  and  preliminary  articles  in  English  by 
Mr.  Happer,  Uchida,  Noguchi,  and  others.  Dates  are  given, 
lists  of  the  landscape  series  and  other  authoritative  informa¬ 
tion.  The  edition  was  limited  to  275  copies  and  the  book  is 
already  out  of  print. 

132.  UKIYOYE  TO  KUKEI  GA.  By  Kojima  Usui,  Publisher  Maye- 

gawa  Bunyeido,  date  Tai  Sho  3,  1914. 

The  title  is  “Landscapes  in  Woodcut  Prints,”  with  many  /e- 
productions,  AND  WITH  AN  ACCOMPANYING  TRANSLA¬ 
TION  OF  PAGES  3  TO  14,  CONTAINING  HIROSHIGE’S 
LIFE  AND  VERY  VALUABLE  COMPARATIVE  DATES  OF 
OTHER  ARTISTS,  information  about  the  2nd.  ^rd  and  4th 
Hiroshiges,  etc. 


/ 


I 


•JAPANESE  BOOKS-  Continued  * 

133.  HIROSHIGE  I.  Date  Ansei  III.  1856.  “Kiyoka  Yedo  Meisho 
Zuye,”  Complete  set  of  the  14  parts  of  Hiroshige’s  famous  places 
in  Yedo,  in  black  and  white.  Tall  8vo.  (14) 

Fine  condition  and  very  rare  when  complete. 

04-  HIROSHIGE  I.  “Xokaido  Fukei  Zuye.”  Famous  Places  on  the 
Tokaido  Road  by  tho^  first  Hiroshige.  Illustrations  in  blue.  2 
vols.,  i2mo.  Date  Kayei  4,  1851. 

^35-  HIROSPHGE  II.  “Kioka  Shiki  Asobi.”  Spring  and  Summer  il¬ 
lustrated  in  color.  2  vols.,  8vo. 

136.  HOKUSAI.  Ga  Yu.  Date  Bunsei  2,  1818.  Publisher:  Suharaya 

Mohei.  The  double  page  plates  of  Fuji,  Birds,  rain  scene,  etc., 
printed  in  tints.  Tail  8vo. 

137.  HOKUSAI.  “Onna  Imagawa” — “Instructions  to  Women.”  Double 

page  plates  in  black  and  white  by  Hokusai  clearly  and  carefully 
printed.  8vo. 

138.  KIYOMITSU  (TORII — attributed).  Banzai  Buyu  Yekigami. 

Unsigned  portraits  of  h'amous  Warriors  in  black  and  iyhite,  hand 
colored  in  very  early  coloring.  Tall  8vo. 

139.  KUNIYOSHI.  “Yedo  Bi  Senryo”  or  Life  in  the  Yoshiwara.  Color 

plates  of  women  treated  humorously.  8vo,  date  1850. 

140.  MASAYOSHI  (KITAO).  Kacho  zuye.  Eight  bird  and  flower 

plates  printed  in  color.  Date  about  1800.  Fine  condition. 

141.  BOOK.  MATAHEI  (IWASA).  Sketches  illustrating  Ukiyoye 

Works  comprising  Matahei,  the  Founder  (about  1640)  to  Hokkei 
(about  i860).  i2mo,  Japanese  boards.  Published  by  Sakai  of 
T  okyo. 

Valuable  for  reference;  circular  examples  make  up  an  at¬ 
tractive  volume  and  each  is  accompanied  with  the  signature  of 
these  famous  artists  from  Matahei  to  Hokkei. 

142.  SHIGEFUSA  (TERAI).  “Yehon  Chiyu  no  Matsu.”  Plates  in 

black  and  \vhite.  Rare.  Publisher:  Kikuya  Kihei.  Date,  1798. 
8vo,  2  vols.  time-worn. 

143.  SHIGEAIASA  (KITAO).  “Yehon  Azuma  Karage.”  Plates  in 

black  and  white.  Publisher :  Akashiya  Ihaohi.  Date,  Kansei  9, 
1797.  In  good  condition.  3  vols. 

144.  SHIGENOBU  (YANAGAWA — Son-in-law  of  Hokusai).  “Yehon 

Fujibakama.”  All  the  plates  of  women  printed  in  colors.  2  vols., 
8vo,  fine  condition. 


14. 


,)  A  PA  X  ESE  BOOK  S— Con t  i  n  ued 

145.  SORl  (TAWARAYA — Pupil  of  Hokusai).  Flower  Arrangement 

of  the  Yenshu  School.  Complete  set  in  4  vols.,  8vo.  Publisher: 
Suharaya  Mohei.  Date  Bunka  9,  1812. 

The  Japanese  have  carried  this  art  to  perfection,  it  is  taught 
in  the  schools  and  rightly  considered  one  of  the  “Fine  Arts.” 

146.  SUKENORU  (NISHIKAWA).  Yehon  onna  mi  Kagami.  Illus¬ 

trated  in  color  of  girls  at  their  games,  dancing,  etc.  2  vols.,  8vo, 
one  with  moth  holes.  Publisher:  Kikuya  Kihei.  Date  Tenmei 
8,  1788. 


147.  SUKENOBU’S  BOOK  COVERS.  12  plates  printed  in  colors  and 

mounted  in  book  form,  one  or  two  with  silver  printing.  Note 
the  first  plate  of  the  Stork  and  Rising  Sun.  Sq.  8vo. 

148.  SEKIYEN  (TORIYAMA).  “Yana  no  Sachi,”  Flower  and  Insect 

plates  in  color.  4  plates,  date  Meiwa  2,  1765,  and  in  good  con¬ 
dition  for  this  early  period.  Tall  8vo. 

149.  UKIYOYE  MAGAZINE,  or  Magazine  devoted  to  Wood  Block 

Printing.  Vol.  I  to  47,  each  containing  a  folding  colored  repro¬ 
duction  and  two  others  in  black  and  white  of  the  great  prints, 
as  well  as  text  illustrations  and  illustrations  in  color  on  the  covers. 
June, .  1915-April,  1919. 

Rarely  found  complete;  the  earlier  numbers  being  out  of 
print. 


JAPANESE  LANDSCAPE  PAINTING. 

j  50.  VILLAGE  ON  THE  SHORE  sheltered  by  high  green  hills,  little 
sailboats  appear  through  the  drifting  fog  (which  is  formed  of 
splashes  of  gold,  bronze,  green  and  silver).  Unsigned.  Oblong. 


ISHOSAI. 

T51.  GIRL  AND  PUPPIES.  From  the  Toto  Meisho  Hakeizaka.  Pub¬ 
lisher:  Isemago. 

Unfolding  Fan  Print,  with  untrimmed  margins,  vei*y  rare  in 
this  state. 


JESHIN. 

152.  SURIMONO.  A  group  of  mice,  a  good  example  of  the  marvellous 

simplicity  of  the  Japanese  brush  work.  The  bold  signature  and 
red  seal  add  to  the  effectiveness  of  the  print.  Signed. 

YODO  GIOKU  YEI. 

153.  URAMl  WATERFALL  AT  NIKKQ.  Beautifuljy  printed. 

Signed.  Sq.  print. 


15 


KEISEI  YEISEN. 

T34.  1  HE  STORY  OP  I  HE  47  RONINS.  Set  of  eleven  prints  pub¬ 

lished  by  Sanoki.  Oblong.  ( 1 1 ) 

Although  the  composition  is  a  little  more  involved  than  is 
consistent  with  the  occidental  idea  of  the  finest  prints  in  Jap¬ 
anese  Art,  the  collector  should  not  overlook  the  fine  landscape 
values  of  this  set,  done  by  the  man  who  collaborated  with 
Hiroshige  in  that  great  serial  the  “Kisokaido.” 

HARBOR,  LAKE  BIWA  AND  NANIWA  MEISHO. 

Series  of  Hiroshige. 

155.  LOWERING  THE  SAIL;  HARBOR  EVENING.  A  great  red 

junk  in  the  foreground,  washed  by  the  tide,  with  fishermen  lower¬ 
ing  the  sail.  Signed,  margins,  “Harbor  Series.” 

156.  HILL  SERIES.  Yoshiwara — Yemonzaka.  Signed,  margins.  Pub¬ 

lisher:  Yamashio. 

From  a  very  rare  series. 

(See  Illustration.) 

157.  8  VIEWS  OF  LAKE  BIWA.  Hira  Bosetsu,  with  the  Homing 

Geese.  Signed,  margins. 

15S.  8  VIEW^S  OF  LAKE  BIWA.”  Awazu  Seran  on  a  windy  day. 

A  fine  water  view  printed  in  shades  of  green.  Signed  Hisei  Hiro¬ 
shige  ga,  small  margins. 

Very  rare.  . 

159.  NANIWA  MEISHO  SERIES.  P'ish  Market,  Rice  Market.  Signed, 

margins.  Publisher:  Keisendo.  (2  pcs.) 

Two  prints  of  much  animation  from  this  rare  series. 

160.  NANIWA  MEISHO  SERIES.  Evening  Market  at  Benkei  Benkei 

Street;  Dotonbori ;  nnirgins  a  little  wormed;  signed.  Publisher: 
A'eisendo.  (2  pcs.) 

SEVEN  EXAMPLES  OF  THE  MODERN  WORK  IN  COLOR  BLOCK 
PRINTING  BY  JAPANESE  ARTISTS. 

161.  KISUI.  Mountains  near  Shiobara  Hot  Springs.  The  foreground 

in  Autumn  browns  and  reds  with  mountains  of  deep  graded  blues 
in  the  background.  Narrow  oblong.  Signed,  margins.  Date  1919. 

162.  KISUI.  Summer  dusk  at  Ikao.  Very  skilful  treatment  of  the  twi¬ 

light  blues  in  the  dark  foliage.  Signed,  margins. 

163.  KISUI.  Moonlight  at  Matsushipia.  Signed,  margins.  Date  1919. 

Sq.  form. 

A  fine  example  of  the  modern  artist. 

164.  CAPILARl  (F.)'  An  Old  Stone  Wall  and  moat  in  d'okyo,  1915. 

Signed,  margins.  I’ublisher:  Watanabe. 


l(> 


No.  273. 
No.  169. 
No.  389. 


PLATE  4 

Hiroshige:  Yodogawa  Ferry. 
Hokusai:  Kikono  moto  no  Hitomaro. 
Hiroshige:  Mountain  and  Sea  Series. 


J 


76.  Kiso  Snow  Gorge- 
42.  Kikei.  Actor. 


BIRD  AND  FLOWER  PRINTS -Continued 

165.  SETA  NO  KARAHASHI.  Fine  modern  “Rain  Print”;  the  long 

bridge  and  pines  swept  by  the  storm  and  the  fisherman  steadying 
his  light  boat  with  a  pole  in  the  foreground.  Margins. 

166.  WINE)\  DAY  ON  HIRA  SHORES.  The  reeds  sway  in  the 

wind  which  roughens  the  water,  the  horizon  hills  are  of  deep 
graded  blues  under  a  stormy  sky.  Margins. 

ifi?’  THE  PLOW.  AWAZU.  Green  field  in  the  foreground  seen 
against  old  pines  and  mountains  of  rich  blues  above  which  curl 
masses  of  white  clouds.  Margins. 

168.  PINK  DAW^N  AX  YABASHIKABAN.  Glowing  Autumn  color¬ 

ing,  the  orange  sails  of  the  little  boats  seen  in  rosy  sky  of  morning. 
Margins. 

HOKUSAI  1760  1849. 

169.  “100  POEMS  SERIES.”  Kikono-moto  no  Hitomaro.  Very  fine 

coloring.  Signed. 

(See  Illustration.) 

170.  FAMOUS  BRIDGES.  Taiko  Bashi  at  Kameido.  The  Drum 

Bridge.  By  Saki  no  Hokusai  Hitsu  Itsu.  Signed,  margins. 

1 71.  “36  VIEWS  OF  FUJI.”  Kageta  no  Suisha  (water-mill).  Signed 

Sakino  Hokusai  litsu  Fude. 

172.  “36  VIEWS  Oh  FUJI.”  Toto  Asakusa  Honganji  Fuji  seen  from 

the  Temple  Roof.  Fine  blue  in  this  print.  Signed  in  blue. 

HIROSHIGE  I. 

A I ACK  IN  THE  SNOW.  Sato  Tadanobu  (middle  figure) 
Fighting  in  Yoshino  Yama.  Signed.  Publisher:  Fujihiko. 

174.  AUTUMN  MOON  ON  TAMAGAWA  RIVER,  near  Yedo. 

One  of  the  “Snow,  Moon  and  Flower”  series.  Signed,  three  mar¬ 
gins. 

A  famous  series  by  the  first  Hiroshige. 

175.  LAKE  BIWA  SERIES.  Mii  Bansho;  village  on  the  shore  sheltered 

by  high  green  mountains.  Chuban  form,  signed.  Publisher:  Nun 
okichi. 

176.  “36  VIEWS  OF  FUJI,”  Asukayama.  Signed,  margins.  Publish¬ 

er:  Sanoki.  Chuban  form. 

177.  SANOKI  TOKAIDO.  Chuban  form.  Odawara.  Signed,  mar¬ 

gins.  Publisher:  Sanoki. 

178.  GIO  YU  from  the  Chuban  Tokaido  published  by  Sanoki.  Signed, 

margins. 


17 


HIROSHIGE  I.— Continued 

179.  SHONO,  from  the  Chuban  Tolcaido.  Signed,  margins.  Publisher: 

Sanoki. 

180.  YOSHIWARA  MOON.  Chuban  form,  signed.  Publisher:  Yeta- 

tsu. 

1 81.  TSUTAYA  TOKAIDO,  Chuban  form.  Wading  the  Stream  at 

Kusatsu.  Signed,  margins.  Publisher:  Tsutaya. 

182.  TORII  AT  YOKAICHI.  Chuban  form,  signed,  margins.  Pub¬ 

lisher:  Tsutaya. 

183.  YOSHIDA  DUSK  WITH  LONG  BRIDGE.  Chuban  form, 

signed,  sm.  margins.  Publisher:  Tsutaya. 

8  PRINTS  FROM  THE  “69  STATIONS  OF  THE  KISOKAIDO.” 

By  Hiroshige  and  Yeisen. 

184.  ANNAKA.  By  Hiroshige.  A  red  path  between  grey  hills.  Signed, 

margins.  ^ 

185.  ASHIDA  BY  HIROSHIGE.  The  curious  “one  color  block”  hill 

print  of  this  series.  Signed. 

186.  FUSHIM.I  By  Hiroshige.  The  great  Cryptomeria  Tree,  the 

“Traveller’s  Halting  Place.”  Signed,  margins. 

187.  MOCHITSUKI.  Cryptomeria  Trees  by  Moonlight,  and  a  noted 

moonlight  print  by  Hiroshige.  Signed. 

,188.  SEKIGAHARA  by  Hiroshige.  Tea  house  and  travellers  resting. 
Signed,  margins. 

186.  FUSHIM  I.  By  Hiroshige.  The  great  Cryptomeria  Tree,  the 
used  for  the  grey  of  the  preceding  print.  Signed,  margins. 

190.  TAKAMIYA  BY  HIROSHIGE.  Showing  the  Dry  River  bed  in 
summer.  Signed,  margins. 

T91.  TAKAS AKI  STATION  BY  HIROSHIGE.  Tea  House  on  a 
winding  stream  looking  over  to  blue  and  green  hills.  Signed,  mar¬ 
gins. 

192.  YABUHARA  BY  KEISEI  YEISEN.  The  Top  of  Torii  Pass, 

men  resting  and  women  carrying  faggots.  Signed. 

Unusually  fine  original  impression. 

BIRD  AND  FLOWER  PRINTS. 

By  Hiroshige  and  others. 

193.  PINK  MORNING  GLORIES  AND  SPARROW.  Chuban  or 

square  form.  Signed. 


BIRD 

194. 

195- 

196. 

197. 

198. 

199. 

200. 

201. 

202. 

203. 

204. 

205. 

206. 

207. 

208. 

209. 

210. 

21 1. 

212. 

^13- 

214. 


AND  FLOWER  PRINTS- Continued 

JAPANESE  PAINTING  BY  HAMA.  Iris  Pond  and  Bridge, 
monochrome,  circular,  signed. 

WHITE  STORKS  FEEDING  IN  THE  POND.  Two-toned, 
margins,  signed. 

PHEASANT  AND  SNAKE.  Two  toned  print,  margins,  signed. 

DUCKS,  REEDS  AND  TIGER  LILIES.  Margins,  signed. 

PAIR  OF  PHEASANTS  PERCHED  ON  ROCKS.  Margins, 
signed. 

BLACKBIRD  AND  A  PAIR  OF  SMALLER  BIRDS.  Margin, 
signed. 

FIVE  STORKS  FEEDING  NEAR  A  STREAM.  Margins,  singed. 

OWL  ON  AN  OLD  RUGGED  BRANCH.  Two-toned  print, 
margins,  signed. 

PAIR  OF  PINE  CHICKENS.  Margins,  signed. 

PAIR  OF  TUFTED  YAMAGIRI  (Kingfishers)  near  a  Water¬ 
fall.  Margins,  signed. 

LARGE  BIRD  AND  HIBISCUS.  Margins,  signed. 

THREE  YOUNG  QUAIL  FEEDING  UNDER  LILIES.  Mar¬ 
gins,  signed. 

THREE  BLACK  HERONS  IN  A  STREAM.  Two-toned  print, 
margins,  signed. 

FLAMINGOES  NEAR  A  STREAM.  Signed,  margins. 

MOONRISE  BEHIND  THE  PINE,  where  two  black  Herons  are 
perched.  Signed,  margins. 

NEW  MOON,  CUCKOOS  AND  IRIS  POND.  Signed,  margins. 

HAWK  ON  A  MAPLE  BOUGH  IN  AUTUMN.  Signed,  mar¬ 
gins. 

THREE  ROBINS  UNDER  BLUE  BELLS.  Two-toned  print, 
margins,  signed. 

FOUR  BLACKBIRDS  NEAR  A  WATERFALL.  Margins, 
signed. 

FLAMINGO  AND  A  FLIGHT  OF  SWALLOWS  OVER 
ROCKY  COAST.  Signed,  margins. 

PAIR  OF  ROSE  BREASTED  GROSBEAKS,  scolding  an  Owl  in 
a  chestnut  Tree.  Signed,  margins. 


19 


7  EXAMPLES  IN  BLOCK  PRINTING  BY  JAPANESE  ARTISTS-Continiiecl 

215.  WILD  GEESE  AND  SNOW  COVERED  BAMBOO  PLANTS 

BY  A  STREAM,  Signed,  margins. 

216.  YOSHITSUNA.  1850.  Cape  Jasmine  and  a  little  green  tropical 

bird.  Signed,  margins,  sq.  koban  form. 

217.  YELLOW  CANARY  AxND  GREAT  PINK  JAPONICA  BUDS. 

Signed,  margins,  sq,  koban  form. 

218.  AUTUMN  MAPLES  AND  MANCHURIAN  GREAT  TIT. 

Signed,  margins. 

219.  POLYANTHUS  NARCISSUS  AND  WAGTAIL.  Signed,  mar¬ 

gins. 

220.  ROSE  BREAST  AND  WATER  HYACINTH.  Signed,  margins. 

221.  JAPANESE  WREN  AND  PEONY,  WITH  RICE  STRAW. 

Signed,  margins. 

222.  ROBIN  AND  CHERRY  FLOWERS.  Signed,  margins. 

223.  JAPANESE  WREN  AND  HIBISCUS.  Signed,  margins. 

224.  GREEN  PAROQUET  AND  GLOWERING  SHRUB.  Signed, 

margins. 

225.  BLACK  AND  YELLOW  BIRD  AND  GREEN  VINE  AND 

PURPLE  FLOWER,  Signed,  margins. 

226.  KINGFISHER  AND  YELLOW  GLOBE  FLOWER,  0.1  a  blue 

ground.  Signed,  margins. 

227.  PAIR  TUFTED  TOMTFFS  AND  POMEGRANA'FES. 

Signed,  margins. 

228.  BLUE  BIRD  AND  PYRUS  SPECTABILIS.  Signed,  margins. 

229.  PEONIES  AND  THREE  GROSBEAKS.  Signed,  margins. 

230.  CAMELLIA  AND  RED  BIRD.  Signed,  margins. 

231.  PLUM  AND  GREEN  WARBLER,  on  a  pink  ground.  Signed, 

margins. 

232.  PEACH  BLOSSOMS  AND  GROSBEAK.  Signed,  margins. 

233.  PERSIMMONS  AND  A  PAIR  OF  GREEN  AND  YELLOAV 

“WHITE-EYES.”  Signed,  margins. 

234.  TACHIBANUS  (CITRUS)  AND  KINGFISHER.  Hexagonal 

shape  print,  margins,  signed. 


20 


7  EXAMPLES  IN  BLOCK  PRINTING  BY  JAPANESE  ARTISTS-Continued 
2.15-  *36  FLOWER  SERIES”  by  Hiroshige  II,  signed  Kisai  Riu  Sho. 

Hibiscus  and  Autumn  grasses,  broadsheet  with  gauffrage  print¬ 
ing.  Signed. 

236.  HIROSHIGE.  Mandarin  Ducks  swimming  down  stream.  Intones' 

of  blue  vvdth  touches  of  pink.  Signed. 

237.  HIROSHIGE  H,  with  seal  Ichiriusai.  Pine  and  budding  plum 

bough.  Broadsheet.  Seal. 

238.  HIROSHIGE.  Mandarin  Duck  on  a  snowy  morning.  Narrow 

panel.  Signed. 

239.  F.  CAPILARI.  1915.  Pair  White  Love  Birds  feeding  on  red  Pome¬ 

granates  at  dusk.  Circular,  signed,  margins.  Publisher:  Watan- 
abe. 

240.  F.  CAPILARI.  1915.  Pair  White  Love  Birds  asleep  on  a  Pome¬ 

granate  tree.  Crescent  moon  in  a  blue  sky.  Circular,  signed,  mar¬ 
gins.  Publisher:  Watanabe. 

TOKAIDO  SERIES  OF  HIROSHIGE. 

241.  DINING  ROOM  AKASAKA  INN,  showing  country  Geishas 

dressing  to  entertain  arrivals.  Signed.  Publisher :  Hoyeido.  Mar¬ 
gins. 

242.  HORSES  FE'EDING  AT  CHIRIU  FAIR.  Clearly  printed  and 

not  too  dark.  Margins,  signed. 

243.  FUJISAWA  WITH  YUGIOJI  TEMPLE.  First  issue  and  a 

fine  copy  with  margins  of  a  good  bridge  print.  Signed. 

(See  Illustration.) 

244.  FUTAGAWA.  Clear  printing  of  the  Monkey  Race  Course.  Mar¬ 

gins,  signed. 

245.  FUJIKAWA.  Daimio’s  Cortege  on  the  highway  in  the  early  mist. 

Good  impression  with  good  blues  and  orange.  Signed,  margins. 

246.  FUJIYEDA.  Travellers  changing  their  horses  and  coolies.  Signed, 

margins. 

247.  (jIO  YU.  Night  scene  with  arriving  travellers  over  whom  the 

women  are  fighting.  Signed,  margins.  Engraver:  Jirobei.  Print¬ 
er:  Heibei. 

First  issue  with  the  publisher’s  mark  on  the  Tea  House  wall 
to  left. 

248.  KUWANA  WITH  THE  MOUTH  OF  THE  FERRY,  with  ar¬ 

riving  sail  boats  in  a  choppy  sea.  Signed.  Elne  early  coloring. 


21 


TOKAIDO  SERIES  OF  HIROSHIGE-Continued 

249.  HIRATSUKA  ON  NAWATE  HIGHWAY.  Old  pine  path  at 

the  foot  of  the  round  hill.  Signed,  margins. 

250.  HIRATSUKA.  A  variation  in  coloring  with  the  round  Mountain 

shaded  in  blue-green  and  grey. 

251-  HAMAMAESU.  Bonfire  at  the  foot  of  a  Cryptomeria  Tree  in 
winter.  Signed  margin. 

252.  HAMAMATSU.  A  variation  in  coloring  with  the  foreground  of 
bamboo  green. 

233.  ISHAYAKUSHI.  A  well  balanced  landscape.  Signed  with  mar¬ 

gins. 

234.  KAWASAKI  FERRY  ON  RYOGOKU  RIVER.  Mt.  Fuji  with 

key-block  line,  the  mark  of  the  first  state.  Signed.  Publisher: 
Hoyeido.  Margins. 

255-  KEISHI.  The  Bridge  at  the  end  of  the  Tokaido.  Fine  coloring  of 
deep  reds  and  shaded  blue-greens.  Signed,  margins.  Publisher: 
Hoyeido. 

236.  KUSATSU  Wn  H  POS  I  HOUSE  and  Despatch  Bearers.  Signed, 

margins. 

237.  KANAGAWA  SUNSET,  beautiful  print  with  cloudy  blue  sky  and 

fresh  blue  Avater.  Signed,  margins. 

First  state  Avithout  the  posts  in  the  foreground. 

238.  MARIKO.  A  rosy  toned  gloAV  in  the  background  Avhich  shoAvs  the 

little  grey  cottages  and  budding  plums  of  this  pretty  Spring  time 
print  to  great  advantage.  Signed,  margins. 

239.  MINAKUCHI.  Women  drying  Gourds.  Signed,  margins. 

2(x).  MAISAKA.  MT.  FUJI  AT  IMAKI  POINT.  Considered  by 
Mr.  Happer  as  one  of  the  finest  landscapes  of  the  series.  Signed. 

261.  MAISAKA.  Slight  variation  in  printing  and  having  margins. 

262.  0"I  SU  WI 1  H  T  HE  OX  CART  S,  passing  down  the  hill.  Sec¬ 

ond  issue  (Avdthout  the  green  hill)  and  in  good  printing.  Signed. 

263.  NARUMI.  Inn  in  good  blues  open  to  the  village  street.  Signed. 

margins. 

264.  OKASAKI.  Well  printed  impression  of  this  long  bridge  print  with 

the  foreground  in  primrose  atIIoaa  .  Signed. 


00 


TOKAIDO  SERIES  OF  HIROSHIGE- Continued 

265.  SHINAGAWA  PINK  DAWN.  A  much  liked  print  on  account 

of  the  beauty  of  coloring  and  the  picturesque  boats  coming  into 
the  harbor.  Signed,  margins. 

266.  SEA  VIEW  HILL  AT  SHIRASUKA.  Beautiful  sea  vista  seen 

in  the  curve  of  hills  in  the  foreground.  Signed,  margins. 

267.  YOSHIWARA  PINE  TREE  PATH.  A  very  satisfying  composi¬ 

tion  and  well  and  clearly  printed.  Signed,  margins. 

Fine  impression  of  the  first  state. 

268.  CLIFF  AT  YUI,  from  which  one  can  see  Mt.  Fuji  with  grey 

shadows.  Early  coloring.  Signed. 

FIVE  PRINTS  FROM  THE  OBLONG  “KIOTO  MEISHO”  OF  HIROSHIGE 
including  the  very  rare  and  beautiful  “Full  Moon  on  Yodogawa  Ferry.” 

269.  KIYOMITSU  ON  A  WINDY  SUMMER  NIGHT.  The  bal¬ 

cony  of  an  Inn  strung  with  orange  lanterns  where  travellers  look 
out  on  a  soft  grey  and  palest  lilac  hill,  trees  bending  to  the  sum¬ 
mer  winds,  and  a  sunset  sky  of  orange  and  blue  tones.  Signed, 
margins  ( wormed ) . 

Some  of  Hiroshige’s  finest  landscapes  are  found  in  this  series 
and  these  five  include  both  the  full  and  new  moon  prints. 

270.  KINKAKUJI  TWILIGHT.  A  print  of  beautifully  graded  color. 

Signed,  margins.  Publisher:  Yeisendo. 

271.  SHIMABARA  AND  THE  NEW  MOON.  The  dark  entrance 

to  the  Yoshiwara,  with  little  groups  of  people,  and  beyond  a 
cloudy  sky  and  a  Crescent  Moon.  Signed,  margins.  Publisher: 
Kawaguchi. 

272.  EVENING  COOLING  AT  SHIJO  RIVER.  The  banks  gaily 

decorated  with  lanterns,  and  a  Geishas’  party  on  the  boat  which 
moves  to  left.  Signed,  margins. 

273.  FULL  MOON  ON  YODOGAWA  FERRY.  A  famous  and  very 

rare  print  of  the  series.  Signed,  margins  (wormed). 

Beautiful  and  soft  printing.  No  finer  moonlight  picture  by 
Hiroshige  exists;  the  lithe  bodies  of  the  Ferrymen  a  faint  pink, 
and  the  thatched  roof  of  the  ferry  hung  with  the  picturesque 
yellow  hats  of  the  passengers. 

(See  Illustration.) 

FOUR  PRINTS  FROM  THE  OBLONG  “HONCHO  MEISHO.” 

274.  TEMPO  ZAN  MOUNI'AIN  AT  OZAKA.  Fine  rich  green  and 

blue,  the  twin  boats  in  the  foreground  having  a  sail  of  primrose 
yellow.  Signed,  margins.  Publisher:  Shogendo. 

These  prints  are  quite  scarce. 


23 


FOUR  PRINTS  FROM  THE  OBLONG  “HONCHO  ME1SH“— Continued 

275.  FUJI  RIVER  FERRY,  Shun  Shu  Province;  a  steep  conical  grey 

hill  rises  directly  out  of  the  low  green  and  brown  foreground. 
Signed,  margins.  Publisher:  Shogendo. 

276.  HUNOBIKI  WATERFALL  IN  SESHU  PROVINCE.  An  un¬ 

usually  interesting  composition.  Signed.  Publisher:  Fujihiko. 

277.  SHINSHU  SARASHINA  TAGOTO  NO  TSUKI.  Mountain 

Inns  built  on  the  edge  of  a  precipitous  cliff,  seen  on  a  night  when 
the  moon  is  full.  Signed. 


LM 


/ 


SECOND  SESSION 

LOTS  278-546 

THE  YEDO  AND  TOTO  MEISHO  SERIES  OF  HIROSHIGE. 

278.  AKABANE  IN  RAIN  WITH  APPROACHING  STORM.  Lit¬ 

tle  wind-blown  ladies  huddle  under  their  blue  umbrellas  as  the 
heavy  storm  sweeps  up.  Signed,  margins.  Publisher:  Yamadaya. 

279.  ASAK.USA  KINRIUZAN.  The  red  and  blue  I  emple  rising  from 

dark  trees  in  Cherry  time.  Signed,  margins.  Publisher:  Marujin. 

280.  ASAKUSA  KINRIUZAN  (TEMPLE  ).  Similar  to  the  preced¬ 

ing  but  more  lightly  printed.  Signed,  margins.  Publisher: 
Marujin. 

281.  ASAKUSA  YAMA  IN  CHERRY  SEASON.  Signed,  margins. 

Publisher:  Kikakudo. 

282.  ASAKUSA  TEMPLE  IN  SNOW^.  Heavy  snow  falling  covering 

the  pines,  roofs  and  the  yellow  mushroom  hats  of  the  approaching 
procession.  Signed,  margins. 

283.  ASAKUSAYAMA  CHERRY  BLOSSOMS.  A  meadow  with 

pines  and  Cherries  and  a  gay  party  of  women  and  children. 
Signed,  margins.  Publisher:  Marujin. 

284.  ATAGOYAMA.  Night  scene,  with  approach  under  the  Torii  up 

the  long  flight  of  steps  to  balcony  hung  with  tiny  orange  lanterns. 
Signed,  margins.  Publisher:  Fujikei. 

285.  DOKAN^AMA  FLILL  MOON.  Ladies  and  children  chasing 

fireflies.  Signed,  margins.  Publisher:  Izumi  Ichi. 

Beautifully  printed,  note  the  shadows  in  the  ragged  trees  and 
the  softly  graded  blue  greys  in  the  drifting  clouds  across  the 
full  moon  just  rising  above  the  horizon. 

286.  FUKAGAWA  SHOWING  YETAI  BRIDGE.  The  red  bridge 

and  the  split  lateen  sails  of  the  boats  make  this  one  of  the  most 
pleasing  landscapes  of  the  series.  Signed,  margins.  Publisher: 
Sanoki. 

287.  P'UKUGAWA  WITH  THE  HACHIMAN  SHRINE,  which  is 

approached  under  a  massive  Blue  Torii.  Signed,  margins. 

288.  FUK.AGAWA  HACHIMAN  TEMPLE,  beautifully  printed  in 

pale  blues  and  yellows.  Signed,  margins.  Publisher:  Tsutaya. 


25 


THE  YEDO  AND  TOTO  MEISHO  SERIES  OF  HIROSHIGE— Continued 

289.  GO  HYAKU  RAKAN  SAZAI  TEMPLE,  with  travellers  admir¬ 

ing  Fuji  on  the  horizon.  Signed,  margins.  Publisher:  Nunokichi. 

290.  HIBAYA  GATE:  YEDO  SHOKEI.  Showing  the  entrance. 

Signed,  margins. 

291.  KAI  ANGI  TEMPLE.  Water  view  and  travellers  maple  viewing. 

Signed,  margins.  Publisher:  Sanoki. 

292.  KASUMIGA  SEKI.  A  steep  hill  street  in  the  village.  Signed, 

margins.  Publisher:  Aritaya. 

293.  MAPLE  TREES  AT  KAI  AN  TEMPLE.  Signed,  margins.  Pub¬ 

lisher:  Kikakudo. 

294.  KANDA  SHRINE  AFTER  A  HEAVY  SNOW.  The  pink  rooL 

of  the  village  in  the  midst  of  snow  covered  pines  and  cryptomeria 
trees.  Signed,  margins. 

295.  KAMEIDO  TEMPLE  SNOW.  A  famous  snow  landscape  and 

of  fine  quality.  Signed,  margins.  Publisher:  Kikakudo. 

One  of  the  best  snow  prints  by  the  first  Hiroshige. 

(See  Illustration.) 

296.  KAMEIDO  TENMAN  TEMPLE.  A  beautiful  summer  view  of 

the  approach  to  the  Temple  which  in  the  preceding  print  is  under 
deep  snow.  Signed,  margins. 

297.  WSITARIA  BLOOMING  AT  KAMEIDO  TEMPLE 

GROUNDS.  Printed  in  pale  lilac,  blues  and  soft  orange  colors. 
Signed,  margins.  Publisher:  Sanoki. 

298.  AFTER  THE  SNOW  AT  MASAKI.  Very  fine  impression  with 

margins,  signed.  Publisher :  Kikakudo. 

299;  AFTER  THE  SNOW  A'E  MASAKI.  Very  beautiful  in  color  but 
small  holes  repaired.  Signed,  margins.  Publisher:  Kikakudo. 

300.  MATSUCHIYAMA,  with  the  Temple  on  the  hill  top.  Signed. 

margins.  Publisher:  Kikakudo. 

301.  MEGURO  F'UDO  TEMPLE.  Very  unusual  printing  by  Kika¬ 

kudo,  with  tnargins  and  the  seal  “Yusai.” 

302.  xVIIYOKEN  TEMPLE  AT  YANAGISHIMA.  Night  scene. 

Signed,  margins.  Publisher:  Sanoki. 

303.  NICHO  STREET  FROM  THE  TOl'O  MEISHO.  The  Street 

of  Banners.  Signed,  margins.  Publisher:  Kikakudo. 

304.  NIHON  BASHI.  Clear  Morning  after  the  Snow,  with  Fuji  no 

whiter  than  the  high  curved  bridge.  Signed. 


26 


THP:  VEDO  and  TOTO  MEISHO  series  of  HIROSHIGE— Continued 
305.  NIHON  BASHI  IN  “WHITE  RAIN.”  Very  fine  printing  by 
Sanoki  with  the  rain  clear  and  sharp.  Signed. 

J06.  NIPPON  BASHI  IN  SUMMER.  A  “Whistler-like”  print  of  the 
great  bridge,  with  loaded  barges  underneath.  Signed,  margins. 
Publisher:  Izumi  Ichi. 

J07.  SPRING  AT  NIPPORI.  Signed,  margins. 

J08.  OJI  TAKINOGAWA  MAPLES.  Fine  autumn  coloring  in  the 
Maples  by  the  swift  blue  stream.  Signed,  margins.  Publisher: 
Marujin. 

309.  OJI  TAKINOGAWA.  Summer  scene  with  boys  bathing  near  the 
rustic  bridge.  Signed,  margins.  Publisher:  Sanoki. 

I 

jio.  RYOGOKU  FIREWORKS.  A  great  “Fountain  of  Fire”  rising 
in  the  background.  Signed,  small  margin. 

This  and  the  three  following  are  the  four  great  fireworks 
prints  from  this  series.  All  are  different. 

31 1.  RYOGOKU  FIREWORKS.  A  “blue”  print  with  the  end  of  the 

red  bridge  to  the  left.  Signed,  margins.  Publisher :  Sanoki. 

312.  RYOGOKU  FIREWORKS.  “The  Star  Cluster”  rising  over  the 

long  bridge.  Signed,  full  margins. 

3^3.  RYOGOKU  FIREW^ORKS.  R3'^ogoku  Bridge  rising  high  in  the 
print  and  the  gaily  decorated  boats  underneath,  rockets  burst  in 
the  distance.  Signed,  margins.  Publisher:  Kikakudo. 

314.  RYOGOKU  WRESTLING  PLACE.  The  crowded  Arena  watch¬ 

ing  the  Wrestlers.  Signed,  margins.  Publisher:  Sanoki. 

315.  SARUWAKA  STREET.  THEATRE  DISTRICT.  With  a 

kaleidoscopic  riot  of  color.  Signed,  margins. 

316.  EARLY  EXAMPLE  OF  HIROSHIGE’S  WORK.  Shiba  Shinmei 

Shrine.  Signed,  margins,  a  little  thumbed  at  the  corners.  Pub¬ 
lisher:  Kikukado. 

317.  SHIBA  ZOJIOJI  TEMPLE.  Signed,  margins.  Publisher:  Sanoki. 

3i<S.  SHINOBAZU  POND.  A  favorite  water  resort  of  the  Japanese. 
Signed  margins.  Publisher: 

319.  SHINOBAZU  BENTEN  SHRINE.  One  of  the  daring  composi¬ 

tions  of  Hiroshige.  Signed,  margins.  Publisher:  Fujikei. 

320.  SHINMEI  SHRINE  AT  SHIBA.  Shinto  Temple  Dance  at 

Dawn.  Signed,  margins.  Publisher:  Sanoki. 


27 


I'HK  YEDO  AND  TOTO  MEISHO  SE^RIES  OF  HIROSHIG— Continued 
^2  1.  SUMIDA  GAWA.  Mountains  of  deep  orange  and  aubergine  round 
off  a  spring  time  landscape  on  the  shore.  Signed,  margins.  Pub¬ 
lisher:  Kawasho. 

J22.  SUMIDA  GAWA  CHERRY  BLOSSOMS.  More  deeply  printed 
than  the  preceding.  Signed,  margins.  Publisher:  KaAvasho. 

.23.  BAMBOO  RAFTS  ON  SUMIDA  GAWA.  Signed,  margins. 

Publisher:  Izumi  Ichi.  \  ' 

324.  SUMIDA  RIVER  WITH  EIASHIBA  FERRY  BOAT.'  Signed. 

margins.  Publisher :  Marusei. 

One  of  the  prints  from  the  noted  “Marusei  Tokaido”  series. 

^23.  RAIN  AT  SUMIDA  GAWA.  River,  and  pale  primrose  sky,  with 
the  blossoming  cherries  swaying  in  the  light  shower.  Signed,  mar¬ 
gins.  Publisher:  Marujin. 

;26.  SURUGA  STREET.  The  “street  of  shops.”  Signed,  margins. 
Publisher:  Kikakudo. 

ay.  SURUGA  STREET.  A  view  of  another  part  of  the  same  street. 

with  the  roofs  grey  and  not  hhie,  and  Mt.  Fuji  toned  into  a  pea¬ 
cock  green.  Signed,  small  margin. 

^28.  RISING  SUN  ON  SUSAKI  SNOW.  A  very  fine  composition. 
Signed,  margins.  Publisher:  Sanoki. 

329.  SPRING  SUNRISE  AT  SUSAKI.  Ladies  cross  the  bridge  hold¬ 
ing  their  rohes  away  from  the  fast  melting  snow. 

A  very  rare  print  from  this  series. 

ao.  LOW  TIDE  AT  SUSAKI.  Signed,  margins.  Publisher:  Sanoki. 

ar.  l'AK.4NAWA  EVENING  VIEW.  The  white  sailed  junks  in  the 
harbor  and  deep  twilight  blues  and  greys  make  this  a  lovely  print. 
Signed,  margins.  Publisher:  Yctatsti. 

Note  the  trade  mark  on  the  sails. 

■^^2.  T.YKANAWA  EVENING  VIEW.  The  same  but  published  by 
Yezakiya  and  more  lightly  printed  Signed,  margins.  . 

TAKANAWA  AFTER  A  BUSY  DAY.  Coolies  arriving  with 
loads,  boats  resting  in  the  harbor  and  travellers  resting  in  the 
Inn.  Signed,  margins.  Publisher:  Sanoki. 

;34.  RETURNING  BOATS  AT  TSUKUDA.  The  Split  lateen  sails 
of  pale  grey,  yellow  and  white.  .A  fine  print  in  fine  condition. 
Signed,  margins.  Publisher:  Sanoki. 


28 


THK  YEDO  AND  TOTO'MEISHO  SERIES  OF  HIROSHIGE— Continued 

335.  UME  YASHIKI,  Budding  Plum  Trees,  and  a  lovely  print  rem¬ 

iniscent  of  the  pale  blue  of  cracking  ice  in  Spring.  Signed,  mar¬ 
gins.  Publisher:  Tsutaya. 

336.  WINDY  DAY  AT  USHIMA  TENJIN  SHRINE.  Signed,  mar¬ 

gins.  Publisher:  Sanoki. 

337-  UYENO  PARK  CHERRIES.  Signed.  Publisher:  Moriji. 

338.  UYENO  TOYEI  T  EMPEE.  Cherry  season.  Signed,  two  margins. 

339.  UYENO  1  OYEI  ZAN.  With  the  green  hill  to  right.  Signed. 

340.  UYENO  TOYEI  ZAN.  The  Cherry  blossom  print  printed  lin 

gauffrage.  Signed,  margins.  Publisher:  Sanoki. 

341.  YAMASHITA  GOMON.  KOTO  SHOKEI.  Fine  example, 

with  margins.  Publisher:  Kawasho. 

Signed  “Hiroshige  Ga.” 

342.  YEITAI  BASPII  AND  T  SUKUDAJIMA.  The  view  of  the  Island 

seen  from  the  Bridge  over  the  sail  boats.  Signed,  margin.  Pub¬ 
lisher:  P'ujikei. 

343-  YOROI  FERRY  BOAT.  YEDO  SHOKI.  Signed,  full  margins. 

344-  FLARE  FISHING  SEEN  FROM  YETAI  BRIDGE.  Signed, 

margins. 

345.  YOSHIWARA  CHERRY  BLOSSOMS  AT  EVENING.  Signed, 
margins.  Publisher:  Sanoki. 

34h.  YOSHIWARA  PARADE.  THE  FAMOUS  CHERRY  PRINT. 
Signed,  margins. 

347.  ZOJIOJI  TEMPLE  AT  SHIBA.  With  procession  in  the  grounds. 

Signed,  margins.  Publisher:  Sanoki. 

HIROSHIGE'S  TEA  HOUSE  SERIES. 

Seven  of  these  scarce  prints  in  good  condition. 

348.  HORAITEI  TEA  HOUSE  AT  IKENOHATA.  A  balcony  with 

Geishas  and  Youths  playing  games  in  the  foreground.  Beyond  is 
a  lovely  view  of  budding  plums  and  quiet  blue  water.  Signed, 
margins.  Publisher:  Fuji  Hiko. 

349.  KAMEIYA  TEA  HOUSE  OPPOSITE  ASAKUSA  TEMPLE. 

Many  people  coming  out  of  the  Temple  doorway  hung  with  a 
great  lantern.  Signed,  fine  Impression,  margins.  Publisher:  Fuji 
Hiko. 


29 


HIROSHIGE'S  TEA  HOUSE  SERIES— Continued 

350.  MIYOGAYA  TEA  HOUSE  AT  ZOSHIGAYA.  Courtyard 

with  arriving  Geishas,  signatures,  etc.,  carved  on  the  trees. 

Fine  sigTied  copy.  Publisher:  Fujihiko. 

351.  OGIYA  TEA  HOUSE  AT  OJI.  A  pretty  print  with  the  Geishas 

wading  the  Stream.  Signed,  margins. 

Fine  copy  published  by  Fuji  Hiko. 

.52.  OGURA  AND  TEA  HOUSE  AT  HONJO  KOUME.  A  boat 
full  of  Geishas  amusing  themselves  in  the  foreground.  Signed,  3 
margins.  Publisher:  Fuji  Hiko. 

353.  SURUGAYA  TEA  HOUSE  AT  MIMEGURI.  Man  stopping 

a  Geisha  accompanied  by  an ,  attendant  carrying  her  Samisen. 
Signed,  margins.  Publisher:  Fujihiko. 

354.  TEA  HOUSE  UMEGAWA  AT  YANAGIBASHI.  Wrestler 

meeting  a  Geisha  at  the  door.  Signed,  margins. 

Very  fine  copy  published  by  Shogendo. 

KANAZAWA  HOKEI. 

355.  SHO  MEI  BANSHO.  Very  rare  landscape.  Signed. 

HOKUl:  DAUGHTER  OF  HOKUSAI. 

356.  MUTAMAGAWA  SET.  Mutsu  in  snow,  Kii  Waterfall  and  the 

remaining  four  of  this  charming  little  set,  pinted  side  by  side  on 
one  sheet  with  the  original  dividing  borders.  Size  i3^/4x2l/4 
inches. 

Excessively  rare  and  most  interesting  to  see  that  the  daugh¬ 
ter  of  Hokusai  inherited  a  fine  sense  of  both  form  and  color. 

ICHIJUSAI  KUNIKAZU. 

357.  SNOW  AT  MATSUCHIYAMA.  From  the  oblong  “Toto 

Meisho.”  Signed,  margins.  Publisher:  Wakamatsu. 

GO  UNTEI  SADAHIDE. 

358.  FESTIVAL  MOON  OF  HACHIMAN  AT  FUKAGAWA. 

Finely  printed,  signed,  margins.  Publisher:  Kawaguchi  Uhei. 

/ 

SHIGENOBU  (HIROSHIGE  II.) 

339.  (;OTENYAMA  FROM  THE  OBLONCj  YEDO  MESIHO. 
Signed  Shigenobu.  Margins. 

3(X).  SHIBA  ATAGO,  series  ^‘Yedo  Meisho.”  Signed  Shigenobu  (Hiro¬ 
shige  II),  margins.  Publisher:  Yamaguchi  ya. 


30 


SHUNKO. 


361.  CHASING  FIREFLIES.  Two  girls  and  a  boy  with  cages,  long 
fans  and  brushes  chasing  insects  on  the  shore.  Signed,  original 
condition. 

SHUNYEI  1762-1819. 

362^  ASAKUSA  TEMPLE,  shaded  by  green  trees,  many  travellers  com¬ 
ing  and  going.  Fine  coloring. 

TOYOHARU. 

363.  CHINESE  LANDSCAPE.  The  upper  balcony  of  a  Nobleman’s 

.Palace  in  the  mountains  overlooking  a  wonderful  water  and  land 
view.  Three  color  print  by  this  great  artist,  with  margin  line. 

KEISAI  YEISEN,  1792-1848. 

364.  YEITAI  BRIDGE  from  the  “Toto  Meisho.”  Signed,  margins. 

Publisher:  Moriji. 

A  remarkably  fine  composition  and  printed  in  soft  blue  and 
orange. 

VERY  RARE  LANDSCAPE  BY  THIS  ARTIST. 

(See  Illustration.) 

YOSHIMORI. 

36s.  UYENO  TEMPLE  AT  YEDO.  Date  about  i860.  Signed,  mar¬ 
gins. 

SIXTEEN  PRINTS  FROM  HIROSHIGE’S  OBLONG  “GIOSHO  TOKAIDO.” 

366.  AKASAKA.  Late  travellers  see  the  moon  rise  beyond  the  hills  and 

Three  Pine  Trees.  Signed,  margins. 

Called  the  Giosho  Tokaido  from  the  form  of  the  letters  in 
the  titles. 

* 

367.  CHIRIU.  Coolies  stopping  to  rest  under  two  great  redwood  trees. 

Signed,  margins. 

368.  FUJISAWA.  Grey  Torii  to  right  with  small  stream  and  bridge. 

Signed,  margins. 

369.  HAKONE.  Very  interesting  coloring  in  pale  blue  and  green. 

Signed.  Publisher:  Yetatsu. 

370.  HAKONE.  With  variation  in  coloring.  Signed,  margins. 

371.  ISHIYAKUSHI  SNOW  PRINT.  Traveller  on  horseback  guided 

by  a  servant  to  the  village  just  under  the  hill.  Reparation  in  upper 
left. 

Rare  Snow  landscape,  with  margins,  signed,  and  published  by 
Yetatsu. 

(See  Illustration.) 

31 


16  PRINTS  FROM  HlROSHlGfrS  OBLONG  “GIOSHO  TOKAIDO”- Continued 
j72.  KUSATSU.  a  spring  landscape  with  three  trees  in  the  foreground. 
Signed,  three  margins. 

,'.73-  KANAGA.  Fording  the  Oi  River.  Fine  color.  Signed,  margins. 
Publisher:  Yezaki. 

374-  MINAKUCHI.  Dusk  with  Travellers  passing  a  lighted  I  nn.  Very 

fine  copy,  signed,  margins. 

375-  NIGHT  CRYING  ROCK  AT  NISAKA.  Signed,  margins. 

376.  ODOWARA  FORD.  Striking  composition  in  fine  harmony  of  grey 

and  deep  blue,  green  hills  and  a  primrose  sky.  Signed,  margins, 
A  VERY  FINE  IMPRESSION. 

377.  OKtVZAKI.  Travellers  climb  the  steep  hill  to  admire  the  mountains 

and  cloudy  sky.  Signed,  margins.  Publisher:  Etatsu. 

378.  SHIMADA.  A  little  yellow  bridge  leads  from  the  cloth  drying 
and  the  racks.  Signed,  margins. 

379.  SAKANOSHITA,  or  “Throwing  Away  the  Brush  Peak.”  The 

picturesque  title  describes  the  despair  of  Hiroshige  to  paint  its 
beauties.  Signed,  margins. 

380.  1  SUCHIYAIVlA  RAIN,  sometimes  called  “Wliite  Rain”  in  the 

mountains.  Signed. 

Very  fine  impression  with  margins  published  by  Etatsu;  the 
rain  which  almost  disappears  in  the  later  issues  very  sharp  and 
clear. 

(See  Illustration.) 

381.  YUI.  A  rocky  water  bed,  with  cloth  racks  and  people  crossing  ^he 

little  pink  bridges.  Signed,  margins. 

THREE  OF  THE  HIROSHIGE  SERIES, 

“The  7  Hot  Springs  of  Hakone.” 

382.  A'HYANO  SHITA.  Rich  coloring  in  peacock  greens  and  blues 

toned  with  pale  grey-yellow.  Signed,  margins.  Publisher:  San- 
oki. 

383.  ASHI  NO  YU.  A  charming  print  of  fresh  Bamboo  green  and  pale 

yellow.  Signed,  margins.  Publisher:  Izumi  Ichi. 

384.  YUMONO  HOT  SPRINGS.  A  yellow  thatched  Inn  and  vil¬ 

lage,  red  and  grey  rocks  in  the  blue  water,  and  hills  of  deep 
camellia  leaf  green  form  a  very  picturesque  landscape.  Signed, 
margins.  Publisher:  Sanoki. 


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No.  14. 
No.  509. 


PLATE  7.  HIROSHIGE. 

Diptych.  Sumidagawa  Ferry.  No.  75. 

Rain  at  Akasaka.  No.  522. 

No.  508.  Akasaka  Kiri  Tree. 


Basket  Bridge. 
Maples  at  Mama. 


TWO  OF  THE  “THREE  VIEWS  OF  YEDO.” 

385.  SUMMER  MOON  AT  RYOGOKU.  A  lovely  sweeping  river 

view  under  a  summer  moon.  Signed,  margins.  Publisher: 
Marujin. 

386.  CHERRY  PLOWERS  AX  GOEENYAMA.  Signed,  margins. 

FOUR  PRINTS  FROM  HIROSHIGE’S  “MOUNTAIN  AND  SEA  SERIES.” 

387.  SETSU  ARIMAYAMA.  Mountain  landscape  with  hills  of  auber¬ 

gine,  green  and  primrose  yellow,  rising  from  a  water  view  of 
finely  graded  blues.  Signed,  margins.  Publisher:  Yamadaya.  1858. 
A  rare  series  with  the  picturesque  title  of  “Mountains  inter 
locked  with  Seas.” 

388.  AWA  KOMINA 1 0.  A  harbor  view;  sail  boats  arriving  at  a 

harbor  sheltered  by  hills  of  graded  green,  blue  and  brown.  Signed, 
margins.  Publisher,  Yamadaya,  1858. 

389.  BANSHU  1  A  1  SUYAMA.  A  mountain  view  of  wonderful  color¬ 

ing,  the  cloudy  sky  finely  printed  as  if  embossed  work.  Signed, 
margins.  Publisher:  Yamadaya,  “Year  of  Horse,”  1858. 

(See  Illustration.) 

390.  SAGAMI  URAGA.  Harbor  with  many  loaded  junks  and  sailboats. 

Signed,  margins.  Publisher:  Yamadaya. 

BROCADES,  SILKS,  ETC. 

391.  SIX  SILK  CUT  VELVET  PICTURES,  woven  as  Landscapes 

with  P\iji,  boats.  Cherry  Blossoms,  etc.,  colored.  8x11  inches.  (6) 

3gi-A.  SIX  SILK  CUT  VELVP:T  PICTURES,  woven  as  landscapes, 
with  PYji,  boats,  cherry  blossoms,  etc.,  colored.  8x11  inches.  (6) 

392.  BROWN  AND  SILVER  BROCADE  SQUARE  in  a  fine  pattern 
^  and  a  square  of  small  all-over  design  in  silver  in  a  sage-green  silk; 

(modern).  25  inches  square  (2  pcs.) 

393-  FOUR  HAND  WOVEN  TAPESTRY  CHINESE  SQUARES, 
Mythological  birds  in  blue  clouds,  waves,  etc.  12  inches  square. 

(4). 

394.  SET  OF  FIVE  CHINESE  HAND  WOVEN  TAPESTRY 

SQUARES.  Kylins  in  the  blue  clouds,  all  but  one  silk  lined. 
12  inches  square.  (5) 

395.  SET  OF  SIX  CHINESE  HAND  WOVEN  TAPESTRY 

SQUARP3S.  Mythological  Bird  in  white  chasing  the  Burning 
Gem  through  dark  blue  clouds  strewn  with  Temple  Ornaments, 
etc.  All  with  gold  braid  borders  and  four  having  silk  linings. 
(6).  12  inches  square. 


BROCADES.  SILKS,  ETC.-Ceutinued 

396.  BROWN  AND  SILVER  BROCADE  COVER.  Modem,  52 

inches  square. 

397.  BROCADE  OF  MOONLIGHT  GREEN  SILK.  In  a  fine  pat¬ 

tern.  Width  26  inches,  length  lO  feet.  Modern. 

398.  SILVER  BROCADE.  Fine  pattern  woven  into  a  brown  ground. 

2  feet  2  inches  x  10  feet. 

399-  PAIR  OF  ALTAR  SQUARES  IN  GOLD  AND  PINK  BRO¬ 
CADE  in  a  Karahana  design.  Modern,  25  inches  square. 

400.  PIECE  OF  SAGE  GREEN  SILK  BROCADE  in  a  Karahana  de¬ 

sign.  Modern,  25x59  inches,  fine  condition. 

401.  SQUARE  OF  SILK  BROCADE  in  old  gold  color  on  a  green 

ground.  Dragon  and  Cloud  design.  Modern. 

402.  BROCADE  SQUARE.  Lattice  and  Nut  Pattern  in  bronze-gold 

on  an  olive  green  ground.  Fine  condition.  Modern. 

403.  BROCADE  OF  RICH  GREEN  IN  A  DRAGON  DESIGN. 

Length  7  yards  5  inches,  width  27  inches. 

404.  STRIP  OF  GOLDEN  BROWN  BROCADE,  figured  in  a  quatre- 

foil  pattern  in  gold,  the  fine  quality  of  brocade  used  for  mounting 
Kakemonos.  3.10  yards  by  27  inches. 

-105.  CEHNESE  EMBROIDERED  PANEL,  for  a  Chinese  Chair  cover. 

Flowers  and  butterflies  in  blue  on  an  orange  (faded)  ground,  silk 
tasseled  fringe.  Date  1800.  17x32  inches. 

406.  PALE  PINK  BROCADE  OHI  WITH  A  SMALL  PATTERN- 

IN  GOLD  AND  IVORY.  13x46  inches,  modern,  lined  with 
thin  green  silk. 

407.  OHI.  Pink  satin  ground  with  a  pattern  in  gold  of  floral  scrolls 

outlined  in  ivory,  lined  with  pongee.  Date  modern.  13x46 
inches. 

.,08.  BLACK  CHIKUZAN  HI  KATA.  Very  heavy  rep  silk  obi  or 
s;ish  (for  a  man). 

409.  TWO  PAIR  NARROW  EMBROIDERED  PANELS  in  land¬ 

scape  with  figures  and  flowers  in  Chinese  French  Nut  embroidery. 
Date  about  1780.  Each  19X3I/6  inches.  (4  pcs.) 

410.  HAKAMA  OF  SENDAI  SILK,  a  fine  silk  specially  made  for  a 

mitn’s  loose  trousers,  plum  color,  as  new. 


IJROCADES,  SILKS,  ETC. — Continued 

-HI.  CHINESE  MANDARIN  HAND- WOVEN  TAPESTR\ 
ROBE,  of  fine  silk  in  an  intricate  Dragon  and  Wave  design;  in 
good  condition,  full  length,  shaped  sleeves,  adorned  with  gold 
braid. 

-112.  MAN  S  LONG  ROBE  OF  PINE  BLACK  SILK,  three  crests  on 
the  back  and  sleeves,  very  fine  quality,  hand  sewn,  with  silk  lin¬ 
ing,  square  sleeves. 

40-  CHINESE  YP^LLOW  BROCADE  SQUARE,  in  a  Karahana  de¬ 
sign.  Modern,  25  inches  square. 

$ 

414.  ANCIENT  SHICHIJO  OR  PRIEST  ROBE  of  brocade  in  a 

Dragon  and  Peacock  design  on  an  orange  color  ground  heightened 
with  gold.  Beautiful  color  and  very  good  condition.  Date  about 
1750.  44x84  inches. 

415.  SHICHIJO.  Priest  Robe  of  old  green  and  gold  brocade  in  a  pat¬ 

tern  of  drifting  Lotus  petals  and  floating  clouds.  Fine  soft  color 
and  condition.  Date  about  1750. 

416.  ANCIENT  SHICHIJO  OR  PRIEST  ROBE  in  a  Karahana  de¬ 

sign  in  soft  pastel  colors  in  very  good  condition.  Date  about  1750. 
A  very  beautiful  piece  in  exquisite  coloring. 

1 7.  ANCIENT  IVORY  AND  GOLD  PRIEST  ROBE,  in  a  kikko  and 
Karahana  design  of  soft  and  beautiful  old  tones.  Date  about  1600, 
yellow  silk  lining.  44x84  inches. 

41S.  OLD  GOLD  HACHIMAI  KINRAN  BROCADE  TEMPLE 
H-4NGING,  in  a  large  open  Peony  design.  17  feet  long  x  25 
inches.  Dated  1700. 

Secured  from  Kamakura  Temple. 

419.  SHICHIJO.  Old  brocade  Priest  Robe,  in  rose  color  with  peonies 

and  butterflies  in  soft  colors.  Good  condition. 

420.  OHl.  Old  red  and  silver  brocade.  Dated  1800,  t2x6o  inches, 

silk  lining. 

421.  OHI  OF  ORANGE  COLOR  GOLD  BROCADE  in  a  Peony  de¬ 

sign  in  pale  blue,  pink,  and  yellow  heightened  with  gold.  Date 
1 8(X). 

421.  OHI  OF  PALE  OLD  ROSE  BROCADE  in  a  bold  pattern  of 
storks  flying  in  the  clouds  heightened  with  rich  gold.  Date  1800. 

42 j.  OHI  OP"  SILVER  BROCADE,  with  orange  color  scrolls  and 
large  peonies  in  pale  Ivory,  green  and  pink.  Date  1750,  silk  lining. 


35 


BROCADES,  SILKS,  ETC. -Continued 

4.24.  OHI  OF  GREEN  BROCADE,  in  a  Wave,  Chrysanthemum  and 
large  butterfly  pattern  in  bronze,  reds  and  deep  purple,  unlined. 
12x60  inches. 

425.  TEMPLE  SQUARE  OF  GOLD  BROCADE  in  a  pattern  of  the 

ih-petalled  kiku  (the  Imperial  Crysthanemum  Crest)  in  ivory  on 
an  orange  colored  and  gold  ground.  Date  1850.  27  inches  square. 

426.  ALTAR  SQUARE  OF  GREEN  AND  GOLD  BROCADE,  in  a 

detached  Japonica  and  Cherry  Blossom  design.  Date  1800,  26 
inches  square. 

427.  KARAORI  BROCADE  ALTAR  SQUARE,  Olive  green  in  a 

lattice  and  bird  pattern  in  bronze,  silver,  and  gold.  Date  1800. 
27  inches  square,  unlined. 

428.  UCHISHIKI  OR  ALTAR  COVER  OF  BLUE  AND  SILVER 

BROCADE  in  a  Karahana  design.  Date  1800.  26  inches  square. 

429.  TWO  PIECES  OF  FLAME  COLORED  BROCADE  in  a  lat¬ 

tice  and  flower  pattern  in  gold  and  silver  and  pale  green.  Each 
4I/2  feet  X  17  inches.  Date  1850. 

430.  UCHISHIKI  OR  ALTAR  COVER.  Shokko  pattern  in  gold  bro¬ 

cade  on  a  rich  purple  ground.  54x75  inches.  Fine  quality  and 
condition. 

431.  SILVER  AND  BROWN  BROCADE  UCHISHIKI  or  Altar 

Cover.  Brown  silk  shot  with  silver  in  the  form  of  innumerable 
small  Temple  Ornaments.  65x63  inches. 

Very  fine  quality  and  condition,  date  about  1800,  and  lined 
with  brown  silk. 

432.  ALTAR  COVER  OR  UCHISHIKI  OF  LAVENDER  BRO¬ 

CADE  thickly  strewn  with  small  cloud  forms  in  gold.  Lined 
with  flowered  green  silk.  52  inches  square.  Date  about  1800. 

I 

433.  FOUR  PIECES  BROCADE  OF  PALE  GREEN  in  a  Dragon 

Medallion  and  large  Cherry  flower  pattern.  Together  17  feet  x 
27  Inches. 

Modern  weave,  suitable  for  a  very’^  handsome  screen,  or  for 
chair  or  sofa  cover. 

434.  PIECE  OF  VERY  HEAVY  SLATE  BLUE  BROCADE,  in  a 

medallion  pattern.  4  yards  x  27  inches. 


36 


HROCADES,  SILKS,  ETC.  Continued 

435.  GOLD  BROCADE  SHICHIJO  OR  PRIEST  ROBE,  Wave, 

Kylin  and  Bird  design  in  light  blue,  gold  and  green,  in  fine  con¬ 
dition,  with  silk  lining.  Date  about  1700.  1.6  x  2.6  yards. 

436.  SHICHIJO  OR  PRIEST  ROBE  of  Orange  colored  cloth  of  gold 

brocade  in  a  Karahana  design.  Date  about  1750.  Very  fine 
color.  1.6  X  2.6  yards. 

437.  PRIEST  ROBE  OF  GOLD  BROCADE,  Chinese  orange  color  in 

a  bold  peony,  bird  and  lattice  design  in  gold  and  color.  Fine 
condition.  Date  1800. 

.,38.  DANCING  DRESS  OF  TWO  PIECES  BLACK  AND  GOLD 
BROCADE.  “O-No-No-Shozoku.”  Worn  during  a  P'estival 
Dance  in  a  Shinto  Temple  about  1600. 

A  SUPERB  SPECIMEN  OF  BLACK  AND  GOLD  BROCADE, 
in  a  striking  pattern  of  a  great  Kiri  Crest  on  a  lattice  all  in 
fine  gold  on  a  rich  black  ground.  It  was  used  in  a  Victory 
Dance  after  the  Korean  Wars  in  honor  of  Toyotomi  Hideyoshi, 
in  the  early  Seventeenth  Century. 

439.  KINRAN  KPiSA  IN  CLOTH  OP'  GOLD.  Chrysanthemums  in 

gold  in  an  all-over  pattern  on  an  ashes  of  roses  ground.  2.8  x  1.9 
yards. 

440.  LARGE  EMBROIDERED  GOLD  SCRP:EN  FROM  A  TOKU- 

GAWA  SHOGUN  P'AMILY.  Four  panels,  each  6  feet  x  30 
Inches. 

Thickly  embroidered  ground  of  brown  silk  just  toned  into 
purple  in  small  Temple  Ornaments,  pomegranates,  peonies,  and 
other  small  designs  in  gold  and  dull  Chinese  Orange,  with  the 
large  Crest  of  the  Tokugawa  Shog-un  Family  in  the  two  middle 
panels^  A  very  interesting  and  unusually  large  screen. 

441.  P'OUR  NABESHIMA  RUGS:  All  the  same  Shokko  pattern  in 

Chinese  blue  and  light  brown  on  a  cream  field.  6  feet  x  36  inches 
each. 

One  sold  with  the  privilege  of  one,  two,  three  or  four  at 
the  same  price.  The  date  of  these  rugs  is  about  1860. 

442.  NABESHIMA  RUG.  Cherry  blossom  medallions  in  brown  and 

some  Chinese  Blue  on  cream  field  ;  blue  Sw^astika  pattern  border. 
6  feet  X  37  inches. 

443.  NABESHIMA  RUG.  Key  pattern  border  and  design  of  dull  Chi¬ 

nese  blue  on  cream.  5  feet  8  inches  x  36  inches. 

444.  THREE  NABESHIMA  ROUGH  RUGS.  Tones  of  Chinese 

blue  on  ivory.  6  feet  x  37  inches. 

Sold  one  with  the  privilege  of  one,  two  or  three  at  the  same 
price. 


HIROSHIGE  I,  1797-1858. 

Nine  Hashiraye  by  noted  artists. 

445-  DRAGON  ESCAPING  PAST  MT.  FUJI  INTO  THE 
CLOUDS.  A  splendid  color  harmony  in  dull  green  and  black, 
with  touches  of  flame  color.  The  rising  waves  take  on  a  Dragon¬ 
like  form.  Signed  Hiroshige  Hitsu:  Seal,  Toto  Yamato  ga:  Pub¬ 
lisher,  Yamajin.  28  x  g^/2  inches. 

Very  searee  hashiraye, 

446.  HAWK  RESTING  ON  A  PINE  TREE,  red  Sun  above.  Signed 

Hiroshige  Hitsu;  seal  Ichiriusai.  Publisher,  Marujin.  Hashir- 
.aye,  914^281/2  inches. 

HIROSHIGE  II. 

447.  KARASHISHI  AND  LITTLE  ONE  ON  THE  CLIFF.  Signed 

“Oju  (by  special  request)  Hiroshige  Flitsu.”  Seal,  Risho.  Pub- 
li.sher,  Yamajin.  9I/2  x  28  inches. 

Hashiraye  of  very  fine  tone  in  the  greenish  blue  of  the  rocks 
and  the  soft  pink  of  the  clustering  Peonies.  A  famous  print 
emblematical  of  the  “survival  of  the  fittest” — the  Shishi  throw¬ 
ing  the  little  ones  over  the  cliff  when  born,  the  one  with  strength 
and  persistence  to  climb  back  being  the  one  to  carry  on  the 
race. 

HICHO  HITSU.  Date  1825. 

448.  KUJAKU  AND  BOTAN.  Peacock  and  Peony.  Kakemono  print. 

Signed.  10  \  29  inches.  Publisher,  Kawacho. 

KITAO  MASANOBU. 

449.  SHOKI:  The  Demon  Killer.  Hashiraye  in  two  colors;  original 

impression.  Signed. 

SHUNCHO. 

450.  HASHIRAYE.  Man  in  a  black  Haori,  a  lady  helping  him  adjust 

the  Hakama.  A  (faded)  lav-ender  robe  hanging  over  a  yellow 
rack.  Signed. 

TOYOKUNI  I. 

451.  OGIVA  UCHI  HANAOGI.  Hashiraye,  signed. 

The  beautiful  Ogiya  accompanied  by  maid.  A  lovely  har¬ 
mony  of  (faded)  violet  and  black  on  a  yellow  ground. 

UTAMARO  1754-1806. 

452.  the  lovers  UMEGAWA  and  CHUBEI  on  a  WIN¬ 

TER’S  BAY.  Hashi  raye,  in  black  and  toned  apricot  on  a  white 
ground. 


38 


YEISHl. 


4S3.  TWO  LADIES  AND  A  LITTLE  CHIN  DOG.  Their  robes 
of  soft  (faded)  apricot  and  rose  pink,  bordered  Mdth  black.  Hash- 
^  iraye.  Signed.  Publisher,  Yeijudo. 

YEIZAN. 

453-A.  a  lady  walking  at  night,  carrying  a  swinging  globe 

paper  lantern  with  large  black  characters.  Hashirayc. 

SIX  PRINTS  BY  MODERN  ARTISTS  IN  WOOD  BLOCK  PRINTING. 

4')3-  E.  CAPILARI,  1915.  “The  Last  Snow.’’  A  lady  in  a  robe  of 
superb  black  holding  up  a  snow-covered  umbrella  of  Chinese  red 
just  passing  a  bamboo  fence  over  which  is  seen  a  Plum  Tree  in 
full  bud.  Narrow  panel,  margins,  signed.  Publisher,  Watanabe. 

45''-  E.  CAPELARI,  1915.  The  Toilet.”  A  lady  in  a  robe  figured 
with  twin  blue  rings  stands  before  a  Iom’  dressing  table,  her  fan 
and  toilet  articles  near  b\^  Panel  print,  signed,  margins.  Pub¬ 
lisher,  Watanabe. 

ITO  SHINSUIGA. 

One  of  the  best  of  the  Moderns. 

45f'-  110  SHINSUIGA.  Ukimido^  the  “Floating  Temple”  at  Katada 

in  winter.  .From  the  “Eight  Views  of  Lake  Biwa.”  Signed, 
margins. 

A  VERY  FINE  SNOW  LANDSCAPE,  the  treatment  of  the 
snow  covered  pines  especially  to  be  commended  and  the  dried 
brown  reeds  glistening  in  the  icy  wind.  No.  36  of  a  series 
limited  to  200  impressions  and  considered  one  of  the  finest 
examples  of  the  modern  art.  Date,  Taisho  6th  Year,  1917. 

(See  Illustration.) 

ITO  SHINSUIGA. 

4V.  ISHIYAxVlA  DERA:  MOONLIGHT.  A  print  of  deep  toned 
and  graded  blues,  showing  the  corner  of  a  Mountain  tea  house,  a 
vague  and  shadowy  distance  and  the  moon  sailing  serenely  high 
up  among  the  scattered  stars.  Signed,  margins. 

4SS.  KARASAKI  PINE,  A  close-up  view'  of  the  gigantic  w'orn  old 
pine  and  the  stone  lantern  beaten  by  the  weather.  Signed,  margins. 

45<i  Mil  DERA  IN  A  HEAVY  RAIN.  A  Bell  tourer  and  foliage  of 
great  trees  darkened  and  blown  by  the  heavy  rain.  Signed,  margins. 


39 


HIROSHIGE'S  “EIGHT  VIEWS  OF  LAKE  BIWA.” 

The  Loveliest  Spot  in  Japan. 

Complete  set. 

460.  AWAZA  SEIRAN.  The  curving  shore  lined  with  tall  pines,  dis¬ 

tant  blue  mountains  and  rising  pink  and  yellow  fog.  Signed,  mar¬ 
gins.  Publisher,  Uwoye. 

461.  HIRA  BOSETSU  SNOW.  The  stretch  of  blue  waters  of  the 

Lake  seen  between  white  curving  hills,  beautifully  printed  with 

grey  and  green  shadows.  Signed,  margins.  ^  ^ 

One  of  the  finest  snow  landscape  of  any  of  Hiroshige’s  up¬ 
right  series. 

462.  ISHIYAMA  AKI  NO  TSUKI.  Autumn  Moon  at  Ishiyama.  Fine 

composition  and  printing.  Signed,  margins.  Publisher,  Uwoye. 

463.  RAINING  ON  KARASAKI  PINE.  A  famous  print.  Signed. 

margins. 

464.  KATADA  NO  RAKUGAN.  Homing  Geese  at  Katada.  A  noted 

print  of  this  series.  Signed. 

465.  Mil  BANSHO  TWILIGHT  IN  SPRING.  Signed,  margins. 

Publisher,  Uwoye. 

466.  SETA  USHO.  Sail  boats  on  a  wide  expanse  of  the  lake  and  the 

long  bridge.  Signed,  margins.  Publisher,  Uwoye. 

467.  YABASHI  KIBAN  WITH  GROUP  OF  SAIL  BOATS.  A  fine 

composition.  Signed,  margins.  Publisher,  Uwoye. 

SIX  PRINTS  FROM  HIROSHIGE’S  “36  VIEWS  OF  FUJI.’’ 

The  Upright  series. 

46H.  BOSHU  HODA  CLIFF.  Rough  water  piling  up  on  the  rocks, 
with  Fuji  on  the  Horizon.  Signed,  margins.  Publisher. 

4()9  KAI  KENMOKU  PASS.  Fine  Autumn  landscape  in  the  moun¬ 
tains,  with  a  flight  of  birds  across  Mt.  Fuji.  Signed,  margins. 
Publisher,  Tsutaya. 

470.  IZU  MT.  AND  WATERFALL.  The  torrent  flowing  through  a 

green  landscape,  with  a  grey  Fuji  in  the  background.  Signed. 

471.  SHICHIRI  BEACH,  SAGAMI.  Curving  water  view  with  a 

fine  view  of  Fuji  to  right.  Signed,  margins. 

Note  the  publisher’s  name  Tsuta  Kichi  on  the  curtain  of  the 
Tea  House. 

472.  SHOjIRl  MOUNTAIN  PASS.  Province  \)f  Chinano.  Signed, 

margins. 

,(73.  TOTO  OCHANO  MIZU.  With  the  covered  bridge  in  the  fore¬ 
ground.  Signed,  margins.  Publisher,  Tsutaya. 


40 


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No-  537-  Shiba  Ura- 
No.  511.  Snow  at  Bikuni  Bashi. 
No.  510.  Snow  Lantern. 


HIROSHIGE  I.  MISCELLANEOUS. 

474.  OTAMA  GA  IKE  OR  HISTORIC  POND.  Otama  kneeling  at 

her  tea  service  near  the  Pond.  Signed,  margins. 

In  ancient  time,  beautiful  young  Girl  Otama  serving  Tea 
near  by  the  pond  in  district  of  Kanda  two  young  men  paid  deep 
attention  to  her  and  both  offered  to  marry.  So  she  afraid  a 
trouble  between  them  jumped  into  pond  and  killed  herself. 

475.  CLEAR  WEATHER  AFTER  SNOW.  On  the  Sumida  River 

Bank,  where  four  ladies  are  struggling  through  the  drifts.  Signed. 
Publisher,  Sanoki. 

476.  MOON  LIGHT  ON  MUSASHI  PLAINS.  Seen  from  the  high 

balcony  to  right. 

477.  VIEW  OF  SAGANO.  Landscape  in  Cherry  Season,  original  con¬ 

dition,  margins.  Published  by  Isekane.  Signed. 

• 

478.  SNOWING  AT  SUMIDAGAWA.  Sheet  from  a  Triptych,  show¬ 

ing  the  men  in  straw  snow-coats  poling  bamboo  rafts  on  the  River 
near  an  Inn.  Signed.  " 

479.  SNOW  LANDSCAPE.  Sheet  of  a  Triptych  sometimes  called  “The 

Skeleton,”  owing  to  the  formation  taken  by  the  snow  covered 
Hills.  Signed. 

Scarce.  Wider  than  the  usual  broadsheet. 

HIROSHIGE  11. 

a8o.  TOTO  SANJU  ROKKEI.  “36  Views  of  Yedo.”  Fishing  boats 
at  Tsukuda  Island.  Two  large  boats  to  left  and  in  the  distance 
the  flares  of  the  Cormorant  fishers.  Signed,  margins.  Publisher, 
Aito. 

481.  FERRY  BOATS  ON  THE  SUMIDA  RIVER.  Good  original 

impression  well  printed.  Signed.  Publisher,  Sanoki. 

TOYOKUNI  I. 

482.  TRIPTYCH  FROM  THE  GENJI  MOxNOGATARI.  Fine  orig¬ 

inal  example  and  coloring,  the  old  Beau  with  a  branch  of  cherry 
blossoms  looking  as  if  he  would  be  a  match  for  any  number  of 
the  group  of  Beauties  across  the  stream.  Signed,  original  condi¬ 
tion  as  issued. 

483.  BUNYA  TOMOYASU  FROM  THE  “100  POEMS.”  Lady 

standing  with  a  yellow  Bamboo  Flute.  Signed.  Publisher,  Sanoki. 

484.  KAWARA  NO  SADAIJIN.  From  the  “100  Poems.”  She  is 

standing  in  a  lavender  and  blue'  robe  of  wave  pattern.  Signed. 
Publisher:  Sanoki. 


H 


# 


TOYOKUxM  I.— Continued 

485.  AN  ACTOR  KNEELING,  holding  a  box  of  black  lacquer  and  a 

folded  red  fan. 

A  fine  example  of  the  first  Toyokuni  in  the  original  condi 
tion.  Signed. 

TOYOKUNI  II. 

486.  THE  \OSHIWARA  DANCE.  Two  girls  in  gay  robes  and  soft 

black  obis  in, the  dance  that  later  was  forbidden  by  the  authorities. 
Signed.  Publisher:  Sanoki. 

GOSOTEI  TOYOKUNI. 

487.  IWAI  HANSHIRO  AS  TERASHIMA  NO  OMITSU,  with 

flowing  hair  bearing  a  Branch  of  Cherry  blossoms.  Signed.  Pub¬ 
lisher,  Iwatoya. 

488.  IWAI  liANSHIRO  AS  OSAKU.  With  the  bright-eyed  little  baby 

tied  on  her  back.  Signed.  Publisher,  Iwatoya. 

489-  SEKI  SANJURO  AS  KATSUGINO  KOMAN,  on  her  way  with 
an  insect  cage  and  large  fan.  Signed.  Publisher,  Tomoye  Izumi. 

490.  YOUNG  NOBLEMAN  IN  A  BLUE  ROBE  CATCHING 
FIREFLIES.  Summer  evening  at  the  Iris  Pond.  Original  con¬ 
dition,  signed. 

49f'  SEGAW^A  ROKO  AS  HAGIRA  O  I  SURU.  A  splendid  figure  in 
a  SAveeping  robe  bordered  and  tied  with  black.  Signed.  Pub¬ 
lisher,  Yamafuji. 

492.  TOJAKU  AS  A  FAN  PEDDLER.  In  a  blue  robe  patterned  in 
fans,  and  with  his  black  and  red  fan  cases  on  his  shoulder.  Signed. 

493-  SANCHO  AS  A  FLOWER  PEDDLER.  In  a  short  cloudy  pur¬ 

ple  robe  holding  a  tripod  tray  wu'th  pots  of  flowers  and  plants. 
Signed. 

494-  IWAI  HANSHIRO  AS  THE  BEAUTIFUL  OSOME,  her  robes 

tied  with  an  obi  of  black  and  carrying  a  large  violet  umbrella. 
Signed.  Publisher,  Iwatoya. 

495-  SAVVWMURA  TANOSUKE  AS  FUNABASHI.  The  courtesan 

in  a  robe  of  C  hinese  orange  is  seen  barefooted  in  a  room  near  a 
Samisen  box  of  deep  black.  Signed.  Publisher,  Yeijudo. 

UTAMARO  1754  1806. 

49C.  I  WO  LADIES  NEAR  A  BRIDGE.  Accompanied  by  a  maid  car- 
rying  a  child.  Signed.  Publisher,  Tsutaya.  One  margin  re¬ 
stored  and  a  little  dusty,  but  a  print  of  fine  line,  subdued  color  and 
good  black. 


42 


KEISAI  YEISEN. 


4.97.  COURTESAN  WITH  MAID  CARRYING  HER  SAMISEN. 

Rich  dark  colors.  Signed,  margins.  Publishe,  Yeichicho.  Panel 
print. 

'yEISHI  170  1805. 

4q8.  group  of  four  WOMEN, •and  two  little  maids.  Late  im¬ 
pression  on  a  silver  ground.  Mr.  Ito  says  not  a  reprint  but 
given  some  chemical  bath. 

499.  LADY  NEAR  HER  KAGO,  delivering  a  letter  to  a  bearer.  Chu- 
ban.  Signed. 

KIKUGAWA  YEIZAN:  1800  1829. 

3CX3.  TRIPTYCH.  OIGAWA  FORDING.  A  close  view  of  Ladies 
carried  by  bearers  through  the  Oi  River.  Signed.  Publisher, 
Nishimura  Yohachi. 

Fine  examples  of  the  triptychs  of  Yeizan  are  much  in  demand 
as  they  are  becoming  very  scarce. 

501.  BEAUTY  UNDER  AN  UMBRELLA.  Signed. 

^02.  OKARU,  a  beautiful  Courtesan  from  the  Story  of  the  Chushingura. 
Signed.  Publisher,  Sanoki. 

ICHIMOSAI  YOSHITORA. 

503.  'EOTO  MEISHO  ATAGOYAMA.  Girl  on  the  shore  with  the 
Temple  in  the  background.  Panel  print,  signed.  Publisher, 
Nunokichi. 

UNSIGNED  PRINT. 

=,04.  PLAl'E  OF  INSECT  CAGES  AND  INSECTS.  An  interesting 
color  study  in  all  the  bugs  that  crawl,  hop  and  fly. 

THREE  FINE  TRIPTYCHS. 

From  a  Private  Collection.  Added  by  Courtesy  of  Mr.  Ito. 

S05.  KUNIYOSHl  TRIPTYCH.  “Peony  Festival.”  Nobleman  and 
Two  Ladies  admire  the  huge  glowing  Peony  Blossoms  of  delicate 
pink,  lilac  and  blue  growing  from  rocks  of  rich  ochre  red  and 
seen  against  a  grey  hillside  landscape.  Signed. 

306.  TOYOKUNI  KUNTSADA.  Night  scene  outside  a  brilliantly 

lighted  Tea  House ;  the  man  in  gauze  robe  of  fine  registration,  and 
his  companion  in  robes  of  flowing  blue  and  pink. 

Beautiful  impression ;  note  the  cloud  block  in  the  sky  and 
the  grain  of  the  wood. 

307.  I'OYOKUNl  KUNTSADA.  Samurai  who  protects  himself  by 

magically  producing  a  huge  snake  to  the  terror  of  his  enemies. 
Signed. 

Very  sharp  and  clear  printing. 


509. 

510. 

SI  I. 

SI  2. 

513- 

S  I  4. 

315- 

5 1 6. 

317- 

S18. 

3^9. 

>20. 


HIROSHIGE  I. 

Prints  from  the  upright  series  “100  Views  of  Yeclo.” 

AKASAIvA  KIRI  BATAKE,  with  the  Catalpa  Trees  in  blossom 
by  the  River. 

Mr.  Ito  characterizes  this  as  the  finest  copy  he  had  seen  of 
this  rare  print.  ^ 

(See  Illustration.) 

RAIN  AT  AKASAKA  KIRI  BATAKI.  By  Ni.sei  (II)  Hiroshige. 
Signed,  margins. 

Very  rare  and  fine  copy. 

(See  Illustration.) 

ASAKUSA  KINRIU  TEMPLE.  With  the  famous  “Big  Lan¬ 
tern.”  Signed,  margins.  Publisher,  Uwoyei. 

A  famous  snow  print. 

(See  Illustration.) 

SNOW  AT  BIKUNI  BASHI.  Signed. 

Also  a  famous  snow  print. 

(See  Illustration.) 

HOREYE  KEKOZANE,  a  pretty  river  and  little  pink  and  yellow 
village,  with  Fuji  in  the  distance.  Signed,  margins. 

INOKASHIRA  BENTEN  SHRINE.  A  very  fine  “blue”  water 
view.  Signed,  margins.  Publisher,  Uwoyei. 

RAIN  ON  SHO  HEI  BASHI  AND  KANDA  RIVER.  A  green 
and  grey  print  of  a  sharp  rain.  Signed,  margins. 

EARLY  MORNING  AT  KANDA  MIOJIN.  Travellers  on  the 
terrace  admire  the  distant  view.  Signed,  margins. 

KANDA  KONYA  CHO.  Dye  House  at  Kanda,  with  the  Silk 
drying  on  the  racks.  A  pretty  print  with  Fuji  seen  between  the 
racks  of  silk.  Signed,  margins. 

DYE  HOUSE  AT  KANDA.  The  same,  a  little  deeper  in  color¬ 
ing.  *  Signed,  margins. 

THE  BUDDING  PLUM  TREES  AT  KAMEIDO.  A  well 
known  print  from  this  series.  Signed,  three  margins. 

THE  GREAT  PINE  ON  THE  KANAGI  RIVER.  Signed,  mar¬ 
gins. 

KASUMIGASEKI.  Windy  day  on  the  Hilltop  street.  Signed, 
margins. 


+4 


HIROSHIGE  I. — Continued 

521.  EVENING  RAIN.  Komagata  Shrine  and  a  distant  view  of  Azuma 
Bashi.  With  the  Cuckoo  flying  over  the  red  flag  in  the  fore¬ 
ground.  Signed,  margins. 

322.  MAPLES  A I  MAMA,  ^’he  oxidization  adds  to  the  leafy  charm 
of  this  famous  print.  Signed,  margins. 

(See  Illustration.) 

S23.  VIEW  OF  MT.  FUJI  FROM  MEGURO.  Signed,  margins. 

324.  TEA  HOUSE  AT  MEGURO.  Fuji  in  sunset  glow  seen  across  the 

yellow  and  green  foreground.  Signed,  sm.  margins. 

325.  MEGURO  CHIYE  GA  POND,  with  the  waterfall  to  left.  Signed, 

margins. 

One  of  the  very  rare  “shadow”  prints,  of  which  there  are 
only  a  few  done  by  Japanese  artists. 

326.  MITSUMATA,  THREE  BRANCHES.  A  very  fine  “blue” 

print,  with  Mt.  Fuji  toned  in  palest  green.  Signed,  margins. 

327.  NICHIREN  I'EMPLE  AT  SHIBA  URA.  A  very  gay  and 

decorative  print.  Signed. 

328.  FERRY  BOA!'  Ad'  NIIJIKU.  Another  of  the  fine  blue  water 

prints  of ‘this  upright  series. 

529.  VIEW  OF  TONEGAWA  FROM  KONODAl.  Autumn  land¬ 

scape,  fine  fresh  printing  with  fhe  grain  of  the  block  in  the  sky. 
Signed,  margins. 

530.  PUPPIES  AND  MELONS  AT  TAKANAWA  USHIMACHl. 

A  well  known  print  with  the  “cart  wheel.”  Signed. 

331.  CHERRY  d'REES  ON  TAMAGAWA  BANKS.  Signed,  margins-. 

^32.  TSUKI  NO  AIISAKI.  Moonlight  view  from  the  green  balcony 
in  the  foreground.  Signed,  margins. 

Very  fine  impression. 

333.  TALL  MASd'S  Ad'  TEPOZU.  Mt.  F\iji  seen  through  the  masts 

beyond  the  village.  Signed,  margins. 

334.  d'SUNO  HAZU.  (dne  of  the  I  “blue  water”  prints  of  the  series. 

Signed,  margins. 

335.  SE^NGU  OHAl,  with  horseman  on  the  bridge  iji  the  foreground, 

boats  in  the  river  and  village  to  right.  Signed,  margins. 

336.  THE  FAMOUS  PINE  d'REE  AT  SENZOKU  POND,  d'hree 

white  Herons  flying  across  the  potid.  Signed,  tnargins. 


HIROSHIGE  I. — Continued 

537-  SHIBA  URA.  Gulls  flying  in  the  foreground  and  over  the  village. 
Signed,  sm.  margins. 

Fine  impression. 

(See  Illustration.) 

538.  SHINAGAWA  SUZAKI.  Boats  on  the  water  (which  shows  the 

grain  of  the  wood  block),  red  sunset  and  flight  of  birds  high  in 
the  air.  Signed,  margins. 

539.  SHINAGAWA  GOXENYAMA,  with  the  Cherries  in  blossom  on 

the  horizon.  Signed. 

540.  SHIBA  NO  MATSU  PINE  ON  THE  ASAKUSA  RIVER. 

Signed,  margins. 

541-  SUGATAMI  BASHl  AT  TAKATA.  A  turf  bridge  leads  to  yel¬ 
low  rice  fields  and  a  village.  Signed,  margins. 

542.  SUNA  MURA  V^ILLAGE,  with  the  'Forii  of  Hachiman  Temple. 

Fine  composition  and  delicate  coloring  in  greens  and  blues.  Signed, 
margins. 

543-  EARLY  MORNING  AT  YOSHIWARA.  A  print  of  dark  tone. 
Signed. 

544.  FUKAGAWA  LUMBER  YARD  IN  SNOW.  A  fine  night  and 
snow  view  from  the  upright  “lOO  Views  of  Yedo.” 

545-  FAMOUS  PINE  TREE  AT  HAKEI  ZAKA.  Signed,  margins. 

546.  HASHIBA  FERRY  BOATS  ON  THE  SUMIDA  RIVER,  with 
the  smoke  drifting  from  the  Tile  Kiln.  /  Signed. 


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9 


Season  1919-1920 
Literary  and  Artistic  Prospectus 


Library  of  the  late  Gen.  H.  W.  Closson  of  Washing¬ 
ton:  the  concluding  portion. 

Furniture,  Silver,  Miniatures,  Paintings  and  Objects 
of  Art  from  the  estate  of  Miss  Ann  Hall,  the  first 
woman  to  be  admitted  to  the  National  Academy  of 
Design. 

Alaskan  Indian  Relics,  Old  Bottles,  Indian  Blankets 
and  Baskets,  including  the  balance  of  the  Collection  of 
the  late  Alexander  W.  Drake. 

Autographs  and  Manuscripts,  including  Lincoln  and 
his  Cabinet,  the  Presidents,  Civil  War,  Revolutionary 
and  Musical  Items,  Signers  of  the  Declaration,  etc. 

Association  Books,  mainly  of  Modern  Authors  and 
First  Editions, 

A  Private  and  almost  complete  collection  of  the 
Bookplates  of  E.  D.  French,  with  other  plates  both 
European  and  American. 

Japanese  Prints  of  high  quality.  Books,  Doll’s  Fes¬ 
tival  Screens,  Brocades  and  Rugs  from  Mr.  Tokumatsu 
Ito  of  Chicago. 

Collection  of  Americana,  including  many  Rare  Books. 

Etchings,  Engravings,  Drawings,  etc.,  including  orig¬ 
inal  sketches  by  Homer  D.  Martin,  Paintings,  etc. 

Objects  of  Art,  Silver,  Glass,  Fine  English  China, 
Tiffany  Clock  Set,  Small  Bronzes  and  other  desirable 
pieces. 

Books  from  the  Library  of  a  Famous  Author,  an  im¬ 
portant  consignment  from  England,  the  details  of  which 
are  to  be  announced  later. 


